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Digitized  by  the  Internet  Archive 

in  2012  with  funding  from 

Research  Library,  The  Getty  Research  Institute 


http://archive.org/details/exhibitionofcontOOclem 


PUBLISHED  BY  GEORG  STILKE,  BERLIN. 

ALL  RIGHTS  RESERVED. 

PUBLISHED.   DECEMBER   190S,    PRIVILEGE    OF    COPYRIGHT   IN   THE 

UNITED  STATES  RESERVED  UNDER  THE  ACT  APPROVED  MARCH  3,  1905 

BY  GEORG  STILKE,  BERLIN  NW-. 


COMPOSITION  AND  PRINTING  BY  THE  REICHSDRUCKEREI,  BERLIN. 

HALF-TONES  BY  GEORG  BLXENSTEIN  &  COMP,  BERLIN 

BINDING  BY  H.  SPERLING,  BERLIN. 

EN  GUSH  TRANSLATION  BY  G.  E.  MABERLY- OPPLER,  CHARLOTTENBURG. 


EXHIBITION  OF 
CONTEMPORARY 
GERMAN  ART 


1909 

THE  ART  INSTITUTE  OF  CHICAGO 


CONTEMPORARY  GERMAN  ART 


however,  that  th« 

ie  regular  jv  rerr; 


rame 


N'arurady.  die  ifddal  exdldldirii  2:  Ihi;-ir:  aui  5:  Liuls 
::~ rrisei .  —  :re  :r  less,  rer res ezrau::^  ::  zddrial  an  aui 
die  Tiices  deara  in  arise  -T;rla  fairs  ~ere  :: :  raaaj  aud 
:: :  loud  f:r  ade  :i:;:  aua  rare  ~i::e  :f  Arr  ::  re  dear  a  1: 

:s  _r.  ia  2  few  disaruruisrea  rri~a:e  d:~ es  rriurlrady  n 
several  eziedear  rai  aeru  rrl~are  rideedius daN  e~~  1  " ~-~    ~  " 


Chicago,  that  German  Art  of  to-day  finds  due  recognition. 
America,  and  American  Art,  have  been  learning  from  the 
French  for  the  last  generation  and  have  passed  through  the 
French  School.  The  path  opened  up  by  the  three  pioneers 
William  Morris  Hunt,  George  Irmess,  and  John  La  Farge  was 
followed  then  by  hundreds.  Thirty  years  ago  it  was  the  mis- 
sion of  France  more  than  any  other  country  to  become  the 
school  of  what  is  called  "good  painting11.  America  assimilat- 
ed the  best  of  what  that  School  and  its  traditions  could  offer, 
but  has  outgrown  it  now.  American  Art  would  form  simply 
a  branch  establishment  of  the  Art  of  Paris  were  it  not  to 
disencumber  itself  from  the  fetters  of  that  School.  American 
Art  has  too  many  new  and  characteristic  ideas  to  proclaim 
and  must  speak  its  own  message  ultimately  in  its  own  lan- 
guage. It  has  grown  so  rapidly  during  the  last  ten  years  and 
has  rushed  forward  at  such  a  headlong  pace  that  it  surely 
can  stand  on  its  own  feet  now.  "The  man  who  always  goes 
behind  another  man  will  never  get  past  him",  said  Michael 
Angelo.  American  Art  will  only  become  an  international 
power  in  the  moment  that  it  ceases  being  international. 
For  America  consequently,  it  is  of  great  and  perhaps  deci- 
sive value  during  this  period  of  national  purification  of  its 
Art  to  investigate,  at  home  and  not  at  -foreign  exhibitions 
on  the  other  side  of  the  ocean,  the  modern  efforts  and  pro- 
ductions of  the  most  prominent  countries  representing  Art. 
And  although  France  may  possess  an  older  and  finer  culture 
and  older  technical  traditions,  yet  the  most  vigorous  and  the 
freshest  forces,  the  most  energetic  vitality  and  the  most  pro- 
mising youthful  generation  are  to  be  found  in  Germany.  It 
has  been  a  matter  of  belief  for  some  long  time  past  in  Ame- 


rica  that  German  Art  has  been  resting  on  its  historic  laurels 
and  has  fallen  into  a  winter  sleep.  Scarcely  any  idea  is  enter- 
tained in  America  of  the  vigorous  regeneration  that  has 
taken  place  in  Germany  during  the  last  twenty  years  and  of 
the  strong  artistic  movement  which,  surging  through  the 
whole  of  Germany,  is  gaining  more  and  more  in  depth  and 
breadth,  and  which  would  fair  engross  the  whole  of  public 
and  domestic  life. 

From  an  age  of  intellect  Germany,  once  the  nation  of  thin- 
kers and  dreamers,  emerged  and  entered  on  a  period  of 
natural  sciences  and  technology  and  it  yearns  to  quit  this 
for  a  new  artistic  age.  Art  as  it  is  comprehended  in  Germany 
should  be  more  than  a  graceful  ornament  for  mental  culture 
and  more  than  an  ingenious  embellishment  for  the  literary 
sediment  of  intellectual  life.  Art  aims  at  being  more  than  a 
mere  ornament,  a  luxury  or  a  dainty  morsel  for  the  pamper- 
ed and  spoilt.  It  does  not  desire  to  be  solely  artists  art.  studio 
art,  Tart  pour  Tart,  a  dish  for  craft}"  collectors  and  connois- 
seurs. Art  is  the  highest  and  finest  expression  of  the  national 
life  of  all  countries,  the  national  reflection  of  the  individual 
character,  a  language  formed  anew  by  ever}"  nation  by  rea- 
son of  its  inward  natural  forces  and  in  accordance  with  its 
needs,  its  inmost  and  purest  essence  and  with  its  political,  so- 
cial and  intellectual  movements.  It  is  a  kind  of  necessary  mani- 
festation of  power  and  of  the  last  and  highest  artistic  desires 
and  moods  as  well  as  of  the  last  mysterious  yearning  that  has 
never  yet  been  comprehended  and  that  cannot  be  expressed 
by  words.  And  if  the  Art  of  any  period  serves  as  a  real  re- 
flection and  as  an  abbreviated  chronicle  of  that  period,  then 
the  German  Art  of  to-day  offers  a  more  complete,  impressive 


and  comprehensive  picture  of  modern  German  intentions 
and  capabilities  than  the  Art  of  any  neighbouring  country. 
If  this  great  task  and  this  extensive  possibility  of  expression 
is  accorded  to  Art,  then  the  theory  advanced  by  some  small 
literary  Trusts  that  there  is  only  one  international  Art,  born 
in  Paris,  to  which  everything  else  has  to  conform,  is  in  itself 
untenable.  We  esteem  the  great  capabilities,  the  brilliant  tech- 
nique and  the  eminent  proficiency  of  the  French  of  the  last 
generation,  but  it  is  not  that  for  which  we  are  seeking  and 
by  which  we  will  abide.  The  great  Frenchmen  from  Dela- 
croix to  Manet,  from  Houdon  to  Rodin,  were  above  all  true 
Gauls,  true  descendants  of  a  Latin  race.  And  with  the  same 
justification  Menzel  and  Leibl,  Bocklin  and  Klinger,  desire 
above  all  to  be  true  Germans.  Nobody  can  expect  our  great 
lyrical  poets  of  the  last  generation  to  chant  in  French,  that 
Storm  should  sing  like  Baudelaire,  or  Liliencron  like  Ver- 
laine;  why,  therefore,  have  artists  been  expected  to  do  so? 
Further,  the  German  artists  of  to-day,  if  they  be  perfectly  frank 
and  true  to  themselves,  only  desire  to  express  and  can  only 
give  expression  to  that  which  lies  within  them,  to  what  they 
are  themselves.  Just  as  the  great  Art  of  the  Greeks,  the  great 
Art  of  the  Italian  Renaissance  was  national,  so  German  Art 
of  the  future  must  be  national;  national  without  Chauvinism, 
national  without  Teutonism,  Art  first  and  above  Nationalism, 
pure  Art,  Art  that  has  its  origin  in  ability. 
All  European  countries  possessing  a  vigorous  artistic  life 
have  been  the  arenas  of  fierce,  frequently  passionate  strug- 
gles during  the  last  twenty  years.  An  age  which  hurried  along 
so  restlessly  and  with  such  strides  in  all  other  directions, 
which  brought  with  it  such  a  complete  revolution  in  the 

8 


views  of  life,  could  not  abide  by  the  comfortable,  uniform 
pace  of  former  times  in  the  path  of  Art.  There  was  a  long", 
almost  too  long,  period  of  fermentation  and  Art  in  its  fresh 
youth  in  Germany  seems  to  have  passed  through  all  the 
childish  ailments  conceivable.  The  danger  was  imminent  that 
much  of  what  was  real  and  good  in  the  last  period  would  be 
thrown  overboard  with  the  old  and  dead  and  above  all  that 
the  careful  training  in  drawing  would  be  lost  entirely.  There 
was  perhaps  no  age  in  which  such  a  lack  of  reverence  was  dis- 
played. The  right  direction,  however,  was  taken  in  time. 
The  new  school  has  called  itself  the  "modern".  I  should  like 
to  hang  up  the  fellow  who  coined  that  word.  All  great  lights 
at  all  times  have  been  "modern"  as  compared  to  the  gene- 
ration preceding  them,  and  every  new  tendency  is  "modern" 
as  compared  to  an  old  and  dying  one.  The  Classiscists  were 
"modern"  in  Germany  in  comparison  to  the  painters  of  the 
last  Rococo  period,  the  Nazarenes  as  compared  to  the  Clas- 
siscists, the  Romanticists  as  compared  to  the  Nazarenes,  the 
school  of  Menzel  as  compared  to  the  Romanticists,  the  school 
of  Painters  as  compared  to  the  Cartoonists,  Knaus  and  Vau- 
tier  as  compared  to  the  oldest  genre  painters,  Leibl  as  com- 
pared to  Knaus,  Liebermann  as  compared  to  Leibl,  and  Putz 
as  compared  to  Liebermann.  Ail  those  are  "modern"  who 
desire  to  establish  something  great,  something  new,  orstrong 
in  the  world,  or  to  cast  a  new  horoscope  of  their  time:  Wash- 
ington and  Napoleon,  and  in  the  present  day  Wilhelm  the 
Second  and  President  Roosevelt.  In  Art,  however,  it  seemed 
that  those  "modern"  artists  quite  forgot  that  there  were 
"modern"  artists  before  them.  The  law  of  development  in 
Art  appears  to  be  as  firmly  established  as  a  natural  law — as 


the  law  of  the  conservation  of  force — and  it  is  truly  the  con- 
servation of  a  natural  force.  It  announces,  namely,  that  as 
far  back  as  we  are  able  to  look,  periods  and  tendencies  have 
succeeded  each  other  in  which  either  sole  salvation  has  been 
sought  by  an  ardent  clinging  to  Nature,  or  in  which  it  was 
believed  that  the  forms  won  from  Nature  could  be  freely 
mastered  and  improved  upon.  Times  of  Realism  and  times 
of  Idealism;  and  when  this  latter  reaches  its  limit,  Mannerism, 
it  is  followed  by  a  return  to  Nature  as  the  sole  regulative 
and  great  corrective ;  in  contact  with  the  maternal  soil  Art 
regains  new  strength  like  Antaus.  It  seems  also  that  it  is  a 
law  of  development  that  new  Art  has  always  made  war  on 
old  Art  and  was  attacked  by  the  latter  in  return.  Those  once 
rebels  are  tyrants  to-day  and  the  revolutionaries  of  to-day 
ma}7  be  perhaps  the  despots  of  to-morrow. 
The  latest  movement  has  taken  root  chiefly  in  Germany  un- 
der the  name  of  the  "Secession"  movement.  This  appro- 
priate title  was  adopted  by  a  number  of  young  Munich  ar- 
tists after  the}'  had  severed  themselves  in  1892  from  their 
older  colleagues.  It  calls  to  memory  the  first  secession  that 
took  place  in  Rome  in  494  B.  C.  and  the  exodus  of  the  op- 
pressed people  to  the  Sacred  Hill.  Now  the  name  has  be- 
come typical  for  every  similar  departure  of  a  small  minority 
from  a  compact  majority  by  which  they  feel  overwhelmed. 
The  Art  secession  in  the  beginning  was  a  manifestation 
of  the  strong  feeling  of  those  who  did  not  desire  to  go 
with  the  crowd,  but  who  stroved  to  climb  the  steep  heights 
of  Art  by  paths  of  their  own  with  few  beside  them.  Her- 
mann Grimm  once  in  a  refined  and  charming  manner  defined 
the  beginning  of  the  Secession  as  the  desire  to  be  alone  with 

10 


Nature.  If  this  is  the  case,  however,  the  term  "secessionist" 
ought  to  exist  only  in  the  singular  and  in  the  sense  that 
all  great  artists  of  all  times  who  wandered  on  their  own  paths 
were  secessionists  before  the  Secession:  Michael  Angelc 
as  well  as  Rembrandt  Menzel  as  well  as  I  lanet  Ibsen  said, 
somewhere  or  other:  "Time  is  relentless  nowadays:  a  truth 
founded  on  a  normal  basis  only  lives  to  be  12. 15  or  20  years 
old  at  the  most" :  and  there  comes  a  time  when  the  truth  be- 
comes an  untruth  and  the  benefit  a  plague.  The  great  pre  :  e  s ; 
of  purification,  the  impulse  once  given  by  the  Secessionists 
has  passed  away  to-day.  A  new  generation  has  arisen  that 
strives  towards  fresh  goals,  and  the  period  that  struck  out 
with  hard  words  and  great  programmes  oughtto  have  passed. 
Altogether  there  is  no  old  Art  and  no  new  Art.  but  only  good 
and  bad  Art — either  Art  solely  and  purely,  or  such  as  does 
not  deserve  the  name.  For  time  strides  irresistibly  forwards 
Only  a  perfectly  blind  person  can  be  unaware  of  the  feet 
that  from  the  beginning  of  this  century  we  really  possess  in 
Germany  what  is  called  a  new  style,  a  style  that  is  no  longer 
what  is  called  "gemacht"  and  •■gewollt".  but  which  has  grown. 
It  is  long  since  Germany  shook  off  the  affectation  coupled 
with  these  first  attempts  which  aimed  above  all  and  absolutely 
at  being  new.  and  Tart  nouveau.  as  it  has  been  christened  in 
France  and  America,  hardly  exists  any  longer. 
An  earnest,  severe  and  positive  style  has  arisen  in  its  place 
The  grand  monumental  Art  pursues  its  way  tranquilly  to-day. 
It  is  no  longer  a  matter  of  remark:  and  this  new  Art  exists 
with  the  same  right  that  the  twentieth  century  exists. 
Should  the  characteristic  peculiarities  of  this  modern  ten- 
dency in  the  domain  of  painting  be  enquired  into  to-day.  three 

2*  11 


points  can  be  emphasised:  Firstly,  that  the  vigorous,  pulsa- 
ting life  by  which  we  are  surrounded,  the  men  of  our  times 
and  life  in  its  most  humble  forms,  are  regarded  without  gloss 
and  as  the  most  important  material  for  Art.  Secondly,  the 
problem  of  light  and  air,  that  allows  all  figures  to  appear 
as  if  bathed  in  air,  and  encompassed  by  light.  Finally,  the  im- 
pressionistic technique.  It  may  be  that  the  latter  is  something 
more  than  a  mere  technical  form.  Perhaps  there  is  more 
underlying  it  than  simply  the  desire  to  paint  as  our  eye  alone 
is  able  to  see  and  comprehend,  in  contrast  to  the  older  school 
that  painted  everything  as  it  knew  it  to  be  physically  shaped. 
"Only  one  thing  is  important,  to  paint  at  the  very  outset 
what  one  sees"  said  Manet  the  great  initiator  of  this  ten- 
dency. Perhaps  Impressionism  is  a  characteristic  of  our  whole 
culture  and  at  the  same  time  the  harbinger  of  the  highest 
subjectivity.  It  can  be  repeated  at  this  point  that  these  in- 
novations were  not  all  original.  The  vigorous  pulsating  life 
around  us  has  already  been  painted  by  Peter  Breughel,  Mu- 
rillo,  Rembrandt  and  Hogarth;  further  Velasquez,  Rembrandt 
and  Goya  worked  in  an  impressionist  manner,  when  they 
needed  such  technique,  only  with  the  difference,  that  they 
did  not  subordinate  themselves  to  it  unless  they  deemed 
the  occasion  appropriate. 

And  perhaps  above  and  beyond  all  this  the  discovery  of  light 
and  air  is  what  remains.  This  is  really  what  is  new,  quite  new, 
that  the  age  has  brought  us,  and  in  this  the  great  art  exploits 
and  victories  of  the  nineteenth  century  can  be  found.  The 
era  at  the  close  of  which  Count  Zeppelin  and  Orville  Wright 
have  achieved  the  conquest  of  the  air  has  also  witnessed 
its  mastery  from  an  artistic  point  of  view. 


12 


our  great  masters  head  the  series  of  artists  re- 
presenting the  effective  forces  in  the  artistic  life 
of  Germany,  four  great  masters  long  numbered 
with  the  dead.  They  hold  this  position  by  virtue 
of  being  the  ancestors  of  present  day  Art,  as  the  forerunners 
and,  in  a  certain  sense,  the  pioneers  who  have  pointed  out 
the  new  ways.  It  will  be  seen  shortly  how  this  youngest 
direction  was  built  up  on  the  Art  of  the  last  generation. 

First  of  all  comes  Adolf  von  Menzel.  When  he  was  called 
away  as  a  nonagenarian  three  years  ago,  he  was  hon- 
oured above  all  other  painters  as  the  glorifier  of  Prussian 
fame,  as  the  great  historical  painter  of  the  Friedrician  period, 
who  knew  how  to  resuscitate  such  a  historical  period  and  to 
combine  the  greatest  historical  accuracy  with  the  greatest 
vitality,  in  a  manner  which  none  before  him  ever  achieved 
and  none  after  him  ever  will  achieve;  but  this  Menzel  the 
First,  the  great  historical  painter,  has  been  dead  for  a  long 
time;  it  is  just  fifty  years  since  he  painted  his  last  picture  of 
the  Friedrician  period.  Then  there  came  Menzel  the  Second, 
to  a  certain  extent  a  Court  historiographer,  a  conscientious 
chronicler  of  the  history  surrounding  him,  which  he  lived 
through  and  participated  in,  the  painter  of  William  the  First. 
And  then  there  was  a  Menzel  the  Third  who  was  only  at- 
tracted by  the  active  pulsating  life  that  assumed  thousands 
of  forms  around  him ;  at  Court,  in  Society,  in  the  streets,  in 
crowds,  at  railway  stations,  in  the  bustle  of  watering  places, 
in  the  fumes  of  the  blasting  furnaces  and  foundries.  And  this 
Menzel  the  Third  was  perhaps  the  greatest,  the  most  mature 
and  the  finest  of  all  three.  He  was  the  first  to  visit  the 


!3 


people  at  their  work,  the  first  who  sang  the  Psalm  of  Work 
in  his  great  "Eisenwalzwerk"  amidst  the  first  threatening 
storm  of  the  workmens  movement,  the  first  to  discover  the 
artistic  possibilities  that  lay  in  toiling,  hammering  men.  At 
the  same  time  he  was  the  first  "Ausschnitts"  painter  who 
was  not  rivetted  by  the  interesting  act,  but  by  the  pictures- 
queness  of  the  act,  the  first  impressionist  and  the  first  sket- 
cher.  The  most  marvellous  feature  of  the  grand  and  awe- 
inspiring  appearance  of  this  little  man  who  strode  through 
the  world  like  the  king  of  the  gnomes,  was  his  unwavering 
love  of  the  truth,  his  sacred  respect  for  nature,  a  respect 
that  was  constantly  growing  within  him  so  that  finally  he 
only  dared  to  depict  nature  that  he  thoroughly  comprehend- 
ed, or,  in  other  words,  the  life  by  which  he  was  surrounded. 
He  was  one  of  the  greatest  originals  of  all  times,  original 
above  all  in  the  manner  in  which  he  interpreted  his  genius. 
His  genius  was  assiduity  and  painfully  he  mastered  his  art. 
Like  Diirer  he  wrung  his  greatness  from  destiny  by  sheer 
force  in  a  severe  struggle.  There  are  pictures  by  him  (about 
the  year  1850)  which  depict  a  humble  room  through  the 
window  of  which  the  sun's  warm  rays  shine  and  play,  pic- 
tures of  the  yards  and  gardens  of  Berlin  as  it  was  then,  ideas 
executed  with  the  greatest  resources  of  the  impressionist. 
He  learnt,  or  discovered,  for  himself  the  art  of  painting  sub- 
jects and  figures  in  the  open  air  thirty  years  before  the  ap- 
pearance of  the  great  French  impressionists.  Manet  was 
only  1 6  years  old  when  Menzel  painted  his  first  picture  in 
accordance  with  this  amazing  technique,  a  picture  that  was 
full  of  light.  His  pictorial  impressiveness  was  quite  immense 
during  the  last  decades  and  was  constantly  increasing.  He 

14 


possessed  an  almost  terrifying  objectivity  that  did  justice  to 
the  smallest  detail  and  that  was  almost  suffocated  by  a  super- 
abundance of  material.  He  was  once  styled  by  Bocklin  "a 
great  scholar".  He  was  the  greatest  exponent  of  what  may 
perhaps  be  called  a  specific  Berliner's  taste  for  Art:  reflec- 
tive, realistic,  conscientious,  tranquil,  and  somewhat  dis- 
passionate. Even  in  what  he  lacked — the  transfiguring,  per- 
sonal element,  phantasy,  and  poetical  inspiration — he  was 
a  true  son  of  that  Prussian  period.  The  French  have  a  pro- 
verb: "To  be  a  master  means  to  resemble  no  one";  as  no 
man's  pupil,  or  successor,  and  with  a  spirit  of  sturdy  inde- 
pendence he  acquired  his  art  and  his  artistic  skill,  inde- 
pendently. If  the  right  to  the  title  of  "Father  of  the  Im- 
pressionists" be  conferred  by  first  discovery  and  conquest, 
then  it  is  Adolf  von  Menzel  who  deserves  the  name. 

Franz  von  Lenbach,  like  Menzel,  started  from  great  histo- 
rical paintings  and  whilst  Menzel  headed  the  Berlin  School 
for  the  last  generation  and  was  its  pride,  Lenbach  was 
the  foremost  of  Munich  painters.  Lenbach  is  the  greatest 
portrait  painter  that  Germany  has  produced  during  the  19th 
century  and  a  historical  painter  at  the  same  time,  for  in  real- 
ity his  portraits  are  a  pictorial  epic  of  his  age.  He  has  fixed 
on  canvass  all  the  great  and  celebrated  men  of  a  whole  gene- 
ration: the  beloved,  old  Kaiser  Wilhelm  and  his  chivalrous 
son,  clever  Pope  Leo,  Bismarck,  Moltke,  Wagner,  Helmholtz, 
Dollinger,  and  Gladstone.  It  can  be  said  with  truth  that  it  is 
just  through  his  portraits  that  this  great  age  will  figure  in 
times  to  come  as  a  specially  vigorous  one.  A  peculiar  con- 
geniality capable  of  assimilating  itself  to  all  great  personal- 

'5 


ities  was  accessary  to  comprehend  all  those  men:  the  tine 

th :  ughtful  and  5  rholarly  head  of  Moltke.  simultaneously  with 
the  p  iwerful  rugged  head  of  Bismarck.  His  great  art  lay  in 
:  ing  hat  was  most  vital  in  the  appearance  and  the  in- 
m :  st  h  eing  of  his  models  and  in  building  up  his  whole  paint- 
ing on  that  motive  alone.  In  his  portraits  the  whole  inner 
soul  appears  like  lightning  in  the  eyes  as  it  perhaps  rarely 
showed  itself  in  his  sitters,  or  only  when  they  were  passing 
through  the  greatest  moments  of  their  lives.  Every  other 
detail  was  kept  subordinate  and  suppressed  in  comparison, 
even  details  of  technique.  The  a j;  ess  jries,  such  as  uniforms. 
costumes,  hands,  etc..  are  treated  purposely  in  a  sketchy 
manner  in  order  that  the  gaze  and  interest  of  the  spectator 
should  not  be  diverted  from  the  heads  that  often  appear  as 
if  they  had  been  illuminated  by  magic.  In  addition  to  this  the 
master,  who  never  concerned  himself  much  about  women's 
portraits.  - —  perhaps  because  they  lacked  for  him  firm  cha- 
racteristic  Expressions  —  created  countless  figures  ofwomen 
of  fascinating  form  which  he  shrouded  with  the  most  subtle 
art  at  his  disposal. 

Lenbach  perhaps  remained  too  much  a  pupil  of  byegone 
times.  He  copied  no  one  but  absorbed  what  was  best  in  his 
predecessors.  Tizian  and  Velasquez.  Rembrandt  and  Hals, 
van  Dyck  and  Reynolds  are  his  ancestors  alike.  He  bor- 
rowed his  '•old  master"  technique  from  them  and  trained  it 
by  means  of  these  prototypes.  Thus  the  ingenuousness  result- 
ing from  the  direct  contemplation  of  nature  was  often  lost  to 
him,  and  it  seems  as  if  his  wonderful  brown-toned  pictures 
shun  the  intrusion  of  the  bright  and  clear  sun. 


16 


In  this  respect  Wilheuh  Leibl  was  a  perfect  contrast  to 

Lizziz'z  H:  :i  ±:  t~:  :  izzz.izz  ::  ±t  :ti.^"  zzzzzi  ::::• 
::r5  ini  E:i\-^t=  i'i  ^;±  hi=  ::::  :::.i  £.r. :  "  ztzzz  in: 
abilities  dumbfounds  and  stupefies  everyone  then  as  now. 
I  t-:t- iti  :r:~  in  :.i  z i~iz~zzz  zizzzlj  zz  ~.-is  -Jit  run:;: 
of  the  Bavarian  peasant.  And  he  regarded  these  peasants 
■?■":".  r ::.: ::.;  i.rtrt":  t;t;  : :  : ;  r~  tr  ::."::":  ~  =  :-  z~~  nt~ 
neither  in  the  heroic  light  peculiar  to  Defregger,  nor  in 
YautierTs  sentimental  manner.  LesbFs  peasants  don't  frolic; 
or  relate  anecdotes.  They  are  original,  sober,  deliberate,, 
r':.;:i::  i::-;  ::~:  :~:  —  ;i;  zzzzz  izi  zi:  i  :  tuti 
They  are  scarcely  ever  depicted  in  action,  but  mostly  sitting, 
zr.iz  zzzzizziiss  is  z  zzzz.ii  :;  ;:e    izzz  ;  t:  :_..  ::  zn :t 

l  Z.iSi  1  ilSlZZZS   1'i  ZZ.z  ~Z~~-i   ~  "  ~  '    I  r  ZZZiZZ  ZJZZ  ZZZS    Z~.  _:iir" 

. ~  e  ""_- ;  .=  znz~zzj  z.zZ-Z.z  ::  ~zi±  rut  .~  zzzzrzz  :::- 1  zz  zzzizzz 
iz. z  zzziy  sazz  zz  'zi  zz!     z  . zzzzz  z  z'tz   _:.:._-  : t:s: :  :  : 

."IS  Z.ZZZZZ'-  ~.Z L  IS    Z\     ZZZZiZ   Z1S    i:i:     ~:   ZZZZSZiZiZ   ~~"-..  ~ 

'-veil  :~r  1=1:: i ;-  ::  ±e  ~.~  i:_ri  :i..i:r:  :i:  :r.t  ;:.;"i_i 
:r:'i=izue  :::_.:;  zz:ii  z:zzzzi'z.izs:zri  izzz'zzzzszzz'zzis  ::' 
the  brush.  Although  teacher  to  no  one  person  the  Hermit 
of  Aibling  has  become  a  teacher  to  a  whole  generation. 

__u^:;  i  z:zzizzzz  ~~zz'.z  zzzzzs  zsiz  zz  '.:  ~zs  .z  zzzzzzzzz  z: 
the  fourth  of  these  great  men,  namely  Arnold  Bockiis. 
5 1;^!:::  ~~is  zizzzizs  zzzz  zz.z5z~zzzz~irs.2L  zz  ill  zzzz  Z-izzz.zz. 
painters  of  the  19*  century;  religious,  historical,  mythologi- 

ZZ.    ZZZZ.ZZSZ.ZZ.    Z2.Z.Z.Z.Z'     Z     Z~.ZZ.~S   ZZZ    ZZZZZSZZZiS     ZZZi  .z- 

zzzz.izi  zzzz  zz.zzzzz zzzz.  sz  ..s  zz  zzziz'.r -  :.z.zz.  z:  i_  ~:r 
i;:.:ii5  ?! :  -  z  : :  zz  z  ...zz  1  szzzzzz  zzz  :  sz.  :::::£..:  ~~~z  z 

-       -    -       "    — z.    —    -    -    -       =.        Z   -     -     ■  ■  Z. "         "-        --_--- =. 

17 


to  the  skies.  The  shortsighted  disregard  of  early  times  chang- 
ed rapidly  into  loud  admiration  and  impetuous  over-esti- 
mation, so  that  frequently  the  irregular  creations  of  his  latter- 
day  style  were  accepted  as  happj^  inspirations  and  the  Bock- 
lin  worship  threatened  to  become  almost  an  obstacle  to  the 
further  artistic  development  of  the  German  nation.  To-day 
we  view  Bocklin's  greatness  and  power  without  detracting 
from  them,  but  also  without  exaggerating  them.  Perhaps  the 
soul  of  this  universal  painter  is  best  comprehended  if  he  is 
regarded  at  first  as  a  landscape  painter.  He  belongs  to  the 
historical,  idealised  school  of  landscape  painting.  "Whereas 
other  representatives  of  this  school  idealised  landscapes  by 
importing  a  medley  of  things  into  them,  by  cramming  their 
frames,  Bocklin  idealised  nature  by  simplifying  it.  He  sought 
the  underlying  idea  of  a  landscape,  its  chief  lines  and  cha- 
racteristic points  and  built  up  his  whole  effect  on  these.  He 
desires  to  depict  the  working  of  mysterious,  eternal  agencies 
in  nature  and  therefore  seeks  what  is  elementary  in  her. 
Each  painting  is  full  of  tremendous  solemnity,  a  psalm  and 
hymn  to  Beauty.  Like  Jehovah  in  the  first  days  of  the  Creation 
he  creates  his  earth  anew,  distributes  water  and  land  and 
causes  trees  to  grow  where  he  pleases.  From  the  very  be- 
ginning it  was  not  the  soft  tranquil  beauty  of  German  scenery 
that  attracted  him,  but  he  was  fascinated  by  the  imposing 
loftiness  in  Italian  scenery.  For  this  the  greatest  concentration 
and  condensation  was  necessary.  He  himself  styled  compo- 
sition "the  constant  omission  of  that  which  was  superfluous". 
He  never  presents  us  with  a  definite  piece  of  scenery  but 
with  a  translated  impulse  received  from  nature;  also  an  im- 
pression.Thus  he  never  worked  from  direct  studies,  but  from 

18 


thousands  of  impressions  of  nature  that  cause  a  new  picture 
to  arise  within  his  mind's  eye.  Consequently,  all  his  paintings 
possess  accentuated  vitality,  something  solemn  that  is  full  of 
silent  majesty,  or  of  immense  and  convincing,  fiery,  power 
and  truly  antique  mirth.  His  colouring,  too,  was  no  longer 
the  natural  colouring  of  nature  but  something  slightly  en- 
hanced, something  interpreted.  Andhe  only  intended  to  depict 
the  mysterious  forces  of  nature  when  he  animated  her,  or  she 
him.  He  confronts  nature  with  the  simple-mindedness  of  the 
ancients.  In  the  thundering  surge,  the  howling  of  the  storm, 
in  the  ravines  and  in  the  rustle  of  the  forest  he  hears  myste- 
rious voices  and  sees  the  gruesome  figures  that  produce  them, 
and  he  peoples  sea,  forest  and  rocky  gorge  anew  with  crea- 
tions of  his  phantasy.  They  are  not  the  Olympian  gods,  but 
a  strange  race  of  fauns  and  satyrs,  water  sprites  and  elves, 
nymphs  and  forest  spectres,  a  Hellenic-Swiss  hybrid  race. 
These  figures  are  not  borrowed  from  the  antique,  his  sea- 
monsters  no  longer  belong  to  the  Scopas  race;  they  are  to 
a  certain  extent  new  figures:  shaggy  and  unkempt,  rough 
and  bestial,  filled  with  wild  animal  life,  frequently  with  year- 
nings like  the  little  mermaid  in  Andersen's  fairy  tale,  and  at 
other  times  full  of  unruly  antique  hilarity  like  the  great  God 
Pan.  Bocklin  himself  is  a  poet.  He  never  illustrated  a  my- 
thological, or  heroic  occurrence.  He  reproduces  as  it  were 
Ovid's  metamorphoses  in  his  paintings;  a  great  visionary 
and  a  great  man.  An  immense  power  and  inexhaustible  health 
live  in  his  pictures,  health  which  desires  at  times  to  have  its 
fling  in  almost  barbaric  strength  and  grotesque  humour.  Yet 
this  man  was  capable  of  the  softest  and  deepest  moods  and 
heard  mysterious  voices  of  nature  which  no  other  ear  had 

3*  19 


caught  before  him.  He  did  not  possess  the  harmonious  and 
refined  classicism  of  the  great  Feuerbach  (who  unfortunately 
is  not  represented  at  this  Exhibition)  and  further  his  pictures 
are  not  full  of  deep  tragedy  like  Feuerbach's  "Iphigenie," 
"das  Land  der  Griechen  mit  der  Seele  suchend,"  but  he  cre- 
ates anew  his  ancient  Greece  out  of  his  own  inner  conscious- 
ness. He  was  the  greatest  natural  poet.  He  sang  poems, 
rich  in  colour,  to  Nature,  such  poems  as  only  Walt  Whitman 
has  been  successful  in  putting  in  words.  If  one  desires  to 
gauge  him  he  can  only  be  measured  by  his  own  standard. 
The  last  goal  that  he  strove  for  was  something  monumental 
and  decorative,  an  elaboration  and  interpretation  of  natural 
impressions,  and  he  occupies  quite  an  isolated  position  in 
comparison  to  the  other  three  masters  who  sought  as  their 
highest  aim  "good  painting". 

■mong  the  living  painters  shown  at  this  Exhibition 
two  old  and  yet  ever  youthful  men  occupy  the  first 


J  positions,  one  of  whom  has  completed  his  seven- 
Mi  tieth  year  this  year  and  another  who  will  reach 
the  same  age  next  year.  They  are  Eduard  v.  Gebhardt  and 
HansThoma,  and  they  both  serve  as  intermediaries  between 
the  old  and  the  new.  Eduard  v.  Gebhardt  still  treads 
in  the  path  of  the  traditions  of  the  great  historical  paintings 
of  the  Diisseldorf  School.  He  has  located  his  religious  paint- 
ings in  the  period  of  our  greatest  religious  upheaval,  the 
time  of  Diirer  and  Luther,  but  only  apparently.  Disinclined 
towards  the  present  and  its  inexpressiveness  he  searched  for 
a  time  of  greater  inwardness  and  expressiveness  and  found 
it  in  that  age.  The  strong  and  powerful  expression  of  his 


20 


figures,  however,  is  what  makes  them  so  imposing  and 
thrilling.  There  is  no  one  in  Germany  who  surpasses  him 
in  the  art  of  imparting  to  a  whole  group  of  figures  such  a 
deep  living  expression.  He  runs  up  the  whole  scale  of  the 
deepest  emotion  to  passionate  agitation.  He  never  tolerates 
anything  weak,  incomplete,  or  soft  and  every  detail  must  be 
filled  with  the  utmost  amount  of  inward  life.  In  this  way  he 
touches  the  heart  of  his  contemplator,  who  is  deeply  affected. 
Further,  Hans  Thoma,  the  most  German  of  masters,  a 
son  of  the  Black  Forest,  he  too  like  Bocklin  is  a  poet,  a 
dreamer,  but  also  like  Bocklin  an  epic  and  dramatic  poet 
and  above  all  a  lyric  poet  and  master  of  idylls.  He  lacks  the 
highly  strung  rhythm  and  exuberant  vitality  of  Bocklin's  art; 
Thoma's  art  is  more  tranquil,  profound  and  humble.  He 
too  starts  with  landscapes,  but  it  is  the  charming  freshness 
and  loving  beauty  of  the  unpretentious  German  scenery 
that  he  cultivates.  The  magic  of  the  plains  of  the  Upper 
Rhine,  and  his  quiet  beloved  Black  Forest  valleys  has  scarce- 
ly been  depicted  with  such  persuasion  as  by  him.  In  de- 
scribing Italy  he  sees  the  land  with  German  eyes,  and  when 
he  paints  mythological  pictures  their  scene  of  action  is  the 
forest  of  German  fairy  tales.  He  feels  quite  at  home  in  these 
fairy  tales  and  seems  to  believe  in  them  ingenuously  like 
Moritz  von  Schwind.  Loveable  and  delicate,  roguish  and 
hearty,  melancholy,  and  contemplative,  and  frequently  with 
a  deep  musical  touch,  he  is  a  narrator  in  whose  phantasy  the 
new  and  the  old  mingle  strangely;  at  the  same  time  primi- 
tive, working  in  the  beginning  with  free  artistic  ability,  later 
on  with  conscious  limitation  of  artistic  devices,  and  frequently 
humdrum  and  commonplace.  If,  however,  there  is  anything 


21 


at  stake,  he  is  capable  of  comprehending-  the  soul  of  a  land- 
scape even  beyond  its  last  picturesque  charm,  although  that 
may  seem  the  last  and  highest  aim  in  art.  No  one  has  grasped 
the  inmost  being  of  a  German  landscape  in  the  same  degree, 
no  one  has  possessed  such  a  suggestive  power,  and  no  one 
has  been  such  a  herald  of  these  unpretentious  and  chaste 
beauties  for  his  whole  nation  as  has  fine  old  Hans  Thoma. 
He  is  true  from  top  to  toe. 


he  realistic  movement  permeated  the  whole  of 
painting  in  Germany  more  than  a  generation 
ago.  Menzel  and  Leibl  were  its  pioneers,  Max 
Liebermann  was  the  leader  of  the  new  tendency  in 
the  middle  of  the  Seventies  and  at  the  same  time,  for  Germany, 
the  intermediary  of  the  French  and  Dutch  artistic  views  and 
technique.  In  Paris  it  was  Munkacsy  and  in  Holland  Josef 
Israels,  who  above  all  stimulated  him.  Liebermann,  however, 
was  a  far  too  lively  spirit  and  far  too  strong  a  personal  ar- 
tistic power  to  do  no  more  than  pass  on  these  impulses  as 
he  had  received  them;  he  established  quite  a  new  style  that 
only  now  and  again  had  points  in  common  with  that  of  old 
Menzel.  In  contrast  to  Leibl's  motionless  and  severe  figures 
he  imparted  to  his  figures  a  vehement  vitality  and  nervous 
mobility.  His  great  art  lay  in  grasping  that  which  was  mo- 
mentary and  characteristic  in  motion.  He  took  over  that 
which  was  new,  what  the  Japanese  and  the  first  French  Im- 
pressionists and  what  Courbet  and  Manet  had  brought  to 
Art  and  wedded  it  to  his  new  style.  Technique  full  of  ge- 
nius, broad  and  yet  delicate,  imparts  an  astonishing  fresh- 
ness to  his  paintings.  The  words  of  the  great  Dutchman, 

22 


Israels,  "Mankind  is  always  beautiful;  give  the  people  the 
simple  poetry  of  real  life,  for  finally  it  overcomes  the  hearts 
of  men"  he  absorbed  in  his  life.  His  great  isolated  figures 
of  peasants,  fishermen,  and  seafaring  men  in  their  general- 
ised embodiment,  he  raised  to  a  grand  type.  Monotonous 
nature  and  cold  air  form  the  proper  background  for  these 
figures  of  toil  and  hardship.  In  this  respect  he  offers  us  the 
same  that  Millet  formerly  gave  to  France  and  yet  his  men 
belong  to  quite  a  different  race,  to  the  Northern  race,  and 
are  viewed  in  quite  a  different  light. 

Side  by  side  with  him  is  Wilhelm  TrObner,  most  promi- 
nent during  the  Seventies;  an  inconsiderate  naturalist  with 
a  strong  feeling  for  nature  and,  especially  in  his  earlier  works, 
a  marvellous  sense  for  the  value  of  tone  and  large  blotches. 
Common  to  both  is  the  absolute  lack  of  phantasy,  the  al- 
most intentional  shyness  of  everything  that  might  appear  a 
little  sentimental  or  literary.  As  aforesaid,  they  all  search  only 
for  "good  painting". 

Fritz  von  Uhde  was  Munich's  chief  representative  of  the 
new  realistic  school;  but  only  his  first  works  were  devoted 
solely  to  the  air  and  light  problem.  Uhde  became  by  rapid 
strides  one  of  the  greatest  painters  of  the  new  technique,  but 
he  discovered  that  the  experimenting  with  indifferent  motives 
did  not  suffice  for  him.  Deeply  impressed  by  the  movement  for 
restoring  to  our  national  and  artistic  feeling  the  pious  themes 
of  the  Christian  legends  he  endeavoured  to  do  what  has  been 
done  in  every  unsophisticated  period,  by  the  Eycks,  as  well  as 
by  the  Diirers  and  Rembrandts.  He  transferred  the  events  of 

23 


the  New  Testament  to  his  own  time.  His  painting  "Suffer  the 
little  children  to  come  unto  me",  which  was  created  exactly 
twenty- five  years  ago,  is  perhaps  the  most  touching  and 
most  modern  religious  painting  of  that  period.  Full  of  the 
truest  feeling,  and  painted  with  the  full  mastery  of  the  treat- 
ment of  light,  it  certainly  does  not  form  an  ecclesiastical  pic- 
ture. Uhde  has  never  attained  again  the  fervency  and  stir- 
ring power  of  these  first  pictures.  He  has  only  shown  him- 
self during  the  last  few  years  as  the  great  technologist  and 
painter  who  knows  how  to  paint.  As  compared  to  him  the 
other  representatives  of  realism  in  Munich  recede  into 
the  background.  Hugo  von  Habermann  is  perhaps  one  of 
the  greatest  virtuosos  and  perhaps  one  of  the  greatest 
masters  of  the  palette;  he  possesses  a  breadth  and  surety 
of  stroke  which  charms  painters  and  which  is  full  of  feeling, 
pungent  and  very  much  out  of  the  common.  He  handles 
the  brush  with  absolute  sovereignity  and  almost  makes 
it  a  point  to  wage  war  against  everything  commonplace. 
Albert  Keller,  compared  to  him,  is  delicate  and  subtle, 
a  man  of  the  highest  society,  who  endeavoured  to  make 
ingenious  application  of  the  new  technique  to  paintings 
of  modern  society.  Gotthardt  Kuhl,  who  stands  quite  in- 
dependently of  foreign  influence  side  by  side  with  him, 
knows  how  to  conjure  up  in  his  technique  the  same 
charms  and  effects  that  Monet  and  Pissarro  produced;  pic- 
tures from  his  Northern  home  and  his  domicile  on  the  strand 
of  the  Elbe,  oceans  of  brick  buildings,  houses  of  old  men, 
Rococo  churches  and  snow-covered  bridges  have  been  de- 
picted by  him  with  verve  and  freshness.  Two  of  the  most 
fruitful  artists  of  the  Berlin  Secession  that  appear  in  the 

24 


train  of  Liebermann  are  Louis  Corinth  and  Max  Slevogt. 
They  lack  the  delicacy,  the  spirituality  of  the  leader  of  the 
movement.  They  are  coarser,  more  ponderous,  frequently 
of  an  unbridled  barbaric  power,  sometimes  hankering  after 
flesh  and  of  a  coarse  sensuousness  that  characterised  the 
great  Flemish  painters,  but  more  of  the  Jordaens1  style  than 
that  of  Rubens.  And  quite  isolated  and  independent  stands 
besides  them  the  President  of  the  Berlin  Academy  of  Arts, 
Artur  Kampf.  Sprung  from  the  historical  tendency,  regarded 
once  as  the  heir  of  Menzel  the  First  and  yet  quite  a  modern 
man,  Artur  Kampf  has  turned  to  the  material  of  his  time 
and  following  more  and  more  what  was  great  and  typical 
has  become  the  monarch  of  his  metier  and  at  the  same  time 
a  powerful  portrait  painter.  Of  all  the  many  portrait  painters 
that  Germany  possesses  in  such  large  numbers,  there  is  none 
other  since  the  death  of  Lenbach  who  can  compare  like 
him  with  Sargent  for  power  and  elegance,  with  Whistler  for 
beauty  of  tone  and  discreet  grace.  After  Lenbach's  death, 
Friedrich  August  Kaulbach  took  the  lead.  Everyone  went 
through  his  atelier  that  could  lay  claim  in  Munich  to  being 
elegant,  rich,  or  beautiful.  He  is  a  man  of  exquisite  taste  and 
refinement,  more  coloured  and  versatile  than  Lenbach,  but 
without  the  latter1  s  powerful  characteristic  features.  He  is 
also  well-known  to  Americans  as  the  portrayer  of  some  of 
their  magnates :  the  portraits  of  the  Rockefeller  family  belong 
to  the  most  brilliant  performances  of  his  last  years.  The 
Munich  School  from  which  Kaulbach  sprung  has  supplied 
during  the  last  ten  years  quite  a  series  of  fresh  and  powerful 
individuals  and  fine  artists.  Zugel  may  be  mentioned  as  the 
most  brilliant  painter  of  animals  with  an  astonishing  tech- 

4  25 


nique  and  a  wonderful  freshness  of  colours;  further  Jank, 
Herterich,  Hengler  and  Karl  Marr,  an  American  by  birth 
and  one  of  the  most  sympathetic  Munich  painters,  who  fre- 
quently calls  to  mind  Abbott  Thayer,  the  American,  but 
who  possesses  greater  freshness  and  individuality— sufficient 
in  themselves  to  build  up  a  new  school. 
The  whole  development  of  German  Art  mirrors  itself  in  the 
history  of  German  landscape  painting,  so  that  from  the  image 
we  can,  as  it  were,  read  off  the  different  tendencies  clearly 
and  sharply.  After  historical  landscapes  and  the  interesting 
landscapes  of  large  plains  and  wide  horizons  come  small 
fragments  of  landscapes;  perhaps  in  no  other  field  of  Ger- 
man Art  can  more  brilliant  performances  be  found  associated 
together.  Landscape  painting  was  the  great  experimenting 
field  in  which  the  effects  of  free  light,  cold  light,  the  glaring 
sun,  of  rarefied  air  and  wavering  light  could  betried.  Develop- 
ment in  this  direction  proceeded  on  the  same  lines  as  in  France 
from  Corot  and  Daubigny  to  Monet  and  Pissarro .  Only  names 
can  be  quoted  here.  In  Karlsruhe  three  of  the  best  of  these 
painters  are  domiciled,  namely,  Gustav  Schonleber,  Julius 
Bergmann  and  Ludwig  Dill.  The  first,  the  greatest  and  most 
delicate  reproducer  of  the  scenery  on  the  Upper  Rhine,  has 
turned  from  Southern  themes  to  those  at  home,  Julius 
Bergmann  is  the  creator  of  delightful  animal  paintings  and 
powerfully  toned  landscapes.  Ludwig  Dill,  once  the  leader 
of  the  "Dachauer,"  fled  from  the  town  air  of  Munich  to  the 
delicious  country  freshness  of  the  neighbouring  village  Da- 
chau. Widely  removed  from  realistic  reproduction,  he  essayed 
by  the  means  of  dull,  delicately  harmonised  silver-grey  sha- 
des, such  as  have  never  been  surpassed  by  the  best  of  Scotch 

26 


artists,  to  create  something'  that  might  be  called  a  style  in 
landscape  painting.  And  this  is  the  tendency  that  is  con- 
stantly growing  in  power  and  importance  in  the  landscape 
painting  of  to-day. 

Like  the  "Dachauer"  School,  a  little  colony  of  painters  of 
whom  perhaps  Vinnen  is  the  best  known,  established  itself 
at  the  village  ofWorpswede  near  Bremen  in  North  Germany 
and  formed  the  so-called  Worpswede  group,  whose  chief 
aim  is  to  reproduce  the  fresh  colours  of  the  flat  and  unspoilt 
Northern  landscape  and  to  depict  the  marvellous  brightness 
of  its  moors  and  marshes.  Among  the  young  Dtisseldorf 
painters,  Max  Clarenbach  attains  this  greatness  and  simpli- 
city of  outline  and  among  Berlin  artists  Walter  Leistikow, 
who  died  not  long  ago.  It  was  the  latter  who  first  drew 
attention  to  the  beauty  of  the  lakes  and  fir  forests  of  Branden- 
burg in  art  as  Fontane  did  in  literature. 


he  realistic  movement  had  hardly  reached  its 
height,  before  its  decay  set  in.  This  relentless  and 
all  too  radical  naturalism  called  forth,  of  necessity, 
a  counterpoise.  The  renunciation  of  everything 
that  was  phantastic,  of  all  poetical  themes,  could  not  be  borne 
for  long.  The  demand  for  a  more  vigorous  and  personal  art 
becoming  stronger  and  stronger  caused  something  super- 
natural to  be  sought  for  in  contrast  to  such  all-too-earthly 
Art;  themes  with  greater,  richer,  and  truer  vitality  in  contrast 
to  the  stern  subjects  of  everyday  life ;  themes  depicting  stron- 
ger passions  and  increased  pleasure  in  living,  and  a  higher 
life  freed  from  the  dross  of  this  world.  Conforming  to  the 
iron  law  of  development,  of  periodical  recurrence,  a  new 

4*  27 


romanticism  sprouted  up  out  of  this  realism,  a  new  stylisised 
Art.  Bocklin  was  the  most  important  intermediary  who, 
over  the  heads  of  the  whole  realistic  movement,  built  the 
bridge  to  that  historical  Art  from  which  he  himself  came. 
And  Franz  Stuck,  above  all  other  artists,  based  himself 
on  Bocklin.  He  is  hardly  imaginable  without  Bocklin,  but 
he  is  severer,  more  architectonic  in  form,  more  irridescent 
in  colour,  features  that  can  be  noted  more  especially  in  his 
first  works.  Stuck  is  an  eminent  colourist  with  marvellous 
enamel-like  tones;  he  dumbfounded  the  whole  of  Munich 
when  he  appeared,  like  a  young  faun  in  the  arena,  with  his 
pictures  overflowing  with  power.  And,  standing  alone  like 
a  hermit,  and  yet  inwardly  related  to  Bocklin,  we  have  Max 
Klinger,  the  greatest  psychologist  and  certainly  the  most 
profound  German  painter  of  the  present  day.  Sometimes, 
however,  Klinger  philosophises  too  much  in  artistic  material 
instead  of  creating  freely.  More  universal  than  any  other 
living  artist,  he  has  attained  world-fame  as  an  engraver;  he 
turned  from  easel  pictures  to  monumental  art  and  came  to 
look  on  marble  as  the  material  in  which  he  could  best  ex- 
press himself.  He  has  passed  through  a  perfect  transforma- 
tion; from  the  crassest  naturalism  to  the  Olympian  repose 
and  Dionysic  jollity,  and  nothing  has  remained  hidden  from 
him,  from  ghastliness  to  grand  sublimity,  from  the  soft  and 
lyrical  to  the  intensified  dramatical.  In  his  Art  we  perceive 
the  whole  of  the  man  Klinger,  the  sturdy  wrestler,  the  con- 
stant combatant,  frequently  struggling  for  the  highest  ex- 
pression of  Art;  and  his  melancholy  and  brooding,  to  which 
creative  form  is  often  denied,  is  valuable  to  us  as  evidence 
of  his  unique  development. 

28 


Ludwig  von  Hofmann  seems  to  have  proved  victorious 
over  these  struggles  and  all  other  heavy  and  cumbersome 
toils.  He  did  not  have  to  strive  long  for  the  Lost  Paradise ; 
the  Garden  of  Eden  in  all  its  irridescent  splendour  and 
beauty  opened  its  gates  to  him  from  the  very  beginning. 
His  whole  Art  is  a  jubilant  hymn  to  the  beauty  of  his  Pro- 
mised Land.  His  pictures  pass  us  in  review,  sometimes  Bac- 
chanal and  unrestrained,  sometimes  filled  with  soft  melan- 
choly, but  always  full  of  beautiful  ardour.  They  are  ideal 
landscapes  peopled  with  a  supernatural  race,  full  of  slender 
youths  and  delicate  maidens  in  a  pure  nakedness  not  of  this 
earth,  a  higher  race,  ever  young  like  the  Olympian  Gods, 
and  although  never  mythological  yet  far  removed  from  this 
world.  And  this  apparently  child-like  unconstrained  Art  is 
full  of  the  highest  artistic  wisdom.  Slowly  Ludwig  von  Hof- 
mann has  turned  more  and  more  to  the  decorative  and  sought 
in  decorative  art  the  monumental,  the  great  simplification, 
the  condensation  of  forms  at  well  as  grand  simple  tones; 
this  is  Nature  as  it  was  found  by  Puvis  de  Chavannes  during 
the  whole  of  his  last  great  period  and  as  it  was  sought  for 
in  another  way  by  John  LaFarge.  Ludwig  von  Hofmann  must 
not  be  gauged  by  the  standard  of  pure  realistic  paintings ; 
that  lies  behind  him.  He  seeks  to  interpret  Nature,  intensi- 
fying it  to  the  monumental. 

This  bent  towards  what  is  great  and  towards  the  decorative 
is  the  "Leitmotiv"  that  characterises  the  works  of  the  young- 
est and  most  remarkable  group  of  German  artists,  namely 
the  "Munich  Scholle,'1  under  which  title  a  series  of  power- 
ful and  original  artists  congregated  together  a  few  years  ago. 
They  desire  to  sing  a  Hymn  of  Praise  to  Mother  Earth,  to 

2Q 


their  native  soil,  in  their  pictures.  These  are  redolent  of  the 
pungent  and  healthy  smell  of  earth.  The  striving-  after  what 
is  great  is  shared  by  the  whole  group  alike,  even  down  to 
size  and  technique  in  their  paintings.  Leo  Putz  possesses 
perhaps  the  most  powerful  talent  for  painting  among  them; 
he  is  sometimes  almost  too  tremendous  in  the  broadness  of 
the  strokes  of  his  brush,  but  masterly  in  a  wonderful  sim- 
plification of  form  and  colour;  at  the  same  time  enchanting 
in  his  warm,  rich,  luminous  and  yet  finely  harmonised  tones. 
"It  is  not  the  profusion  of  detail,  but  the  correctness  of  the 
whole,1'  said  Rousseau  once  when  characterising  the  con- 
ception of  perfection  in  painting.  And  "to  finish,"  said  the 
great  American  William  Morris  Hunt,  "means  to  leave  off 
somewhere  outside  after  everything  inside  is  quite  full;  to 
leave  off  before  you  yourself,  or  the  spectator,  are  tired." 
Putz's  surprising  and  amazing  facility  is  shared  by  Adolf 
Munzer  who  possesses  greater  grace,  a  strong  inclination 
for  the  decorative  and  quite  wonderful  ease  in  creating. 
Then  comes  Fritz  Erler,  the  most  powerfully  emphas- 
ised decorative  talent  of  the  whole  group.  He  is  frequently 
rough,  quaint,  exaggerated  and  sometimes  almost  barbaric 
and  wild  in  his  Bajuvarian  expressions  of  power,  but  always 
full  of  inner  grandeur  and  a  born  monumental  painter. 

inally,  this  striving  after  greatness  of  outline,  to- 
wards new  monumentality,  is  also  characteristic 
for  the  new  movement  in  German  PLASTIC  ART. 
Naturally  at  this  Exposition  it  has  been  impossible 

even  to  try  to  afford  a  view  of  all  these  efforts  in  Germany. 

The  school  of  Reinhold  Begas,  brought  under  the  notice 

3o 


of  the  American  public  at  former  official  Expositions,  pro- 
spers with  all  its  old  fertility  in  the  North.  The  father  of  this 
new  and  "Barock"  style,  Reinhold  Begas,  the  creator  of  the 
Berlin  monuments  of  Kaiser  Wilhelm  and  Bismarck,  although 
more  than  seventy  years  of  age,  is  still  working. 

For  the  younger  generation,  Adolf  Hildebrand  has  arisen 
as  a  leader,  and,  although  he  is  now  upwards  of  sixty  years 
of  age,  the  sculpture  of  the  present  day  bears  the  impress 
of  his  influence  in  a  constantly  growing  degree.  That,  which 
he  has  never  tired  of  preaching  as  a  teacher  and  creator, 
is  quietness  and  simplification  and  condensation  of  the 
whole  effect  in  one  single  view,  namely,  in  the  distant  per- 
spective. Especially  in  the  setting  up  of  figures  in  the  open 
which  are  to  be  visible  a  long  way  off,  the  most  important 
consideration  is  to  select  as  a  "motif"  of  animation  one  which 
shall  be  as  simple  and  yet  as  effective  as  possible,  and  to 
secure  for  the  figure  that  silhouette  which,  without  being 
exaggerated,  shall  exhibit  the  greatest  expressiveness. 
This  great  "repose,"  which  Ruskin  held  to  be  absolutely  es- 
sential to  real  art,  is  to  be  found  in  the  sculpture  of  Hilde- 
brand, with  the  splendid  nudity  of  his  marble  bodies  built 
up  in  calm  ideality,  and  his  wonderful  busts  in  which  the 
whole  intellectual  content  is  tersely  summarised  and  ex- 
pressed in  a  few  boldly  emphasised  features.  His  art  abstains 
from  all  "accessories,"  he  deliberately  neglects  all  that  is  sub- 
sidiary. Indeed  this  neo-classical  Munich  School  is  the  dia- 
metrical opposite  of  the  naturalistic-historic  school  with  its 
theory  of  the  faithful  reproduction  of  the  model. 


31 


Of  the  Berlin  artists,  it  is  Lederer,  the  creator  of  the  won- 
derful Bismarck  monument  at  Hamburg,  who  shows  the 
greatest  psychic  affinity  to  Hildebrand.  His  great  master- 
piece looms  up  gigantic  like  a  mediaeval  Roland  statue  and 
the  figure,  built  up  on  huge  blocks,  towers  over  the  city  and 
the  Elbe.  In  all  Germany  there  is  no  monument  which  has 
been  better  conceived  and  carried  out  than  this  Hamburg 
"Denkmal"  in  which  the  powerful  personality  of  the  founder 
of  the  German  Empire  has  been  immortalised  in  stone.  Side 
by  side  with  Lederer  stands  Tuaillon,  the  creator  of  the 
lovely  "Amazon",  calm  and  resolute  in  her  maiden  chastity. 
Her  pose  is  absolutely  simple  and  natural,  but  expressive  of 
the  utmost  condensation  of  strength,  and,  mounted  before 
the  National  Gallery  in  Berlin  on  her  neighing  steed  with 
its  outstretched  head,  she  seems  a  fit  personification  of 
the  youthful  energy  of  the  German  Art  of  to-day  with  its 
buoyant  confidence  in  the  future. 

n  this  confined  and  limited  Exhibition  the  growth 
of  German  Art  during  the  last  few  years,  its 
capabilities  and  its  desires,  can  only  be  shown  in 
a  restricted  and  limited  degree.  In  these  days  of 
hurry  and  haste  artistic  tendencies  die  out  far  too  rapidly. 
Appearances  that  only  create  amazement  are  lost  sight  of 
with  amazing  rapidity.  To-day,  German  Art  has  brought 
over  with  it  into  the  twentieth  century  the  best  of  the  tra- 
ditions of  the  nineteenth  century.  And  above  all,  it  reflects 
an  abundance  of  great  power  and  everlasting  youth.  This 
Art  exhales  the  breath  of  internal  health.  And  truly  German 
Art  of  to-day  is  a  faithful  mirror  of  the  German  nation, 

32 


and  of  its  impetuous  haste.  The  bright  colour  and  variety 
shown  in  this  mirror  is  likewise  a  simile  of  the  differentiated 
culture  of  to-day.  When,  at  a  future  period,  whole  races  enter 
into  pacific  competition,  the  victory  will  not  be  gained  by 
the  nation  possessing  the  oldest  and  most  refined  culture, 
but  by  the  nation  whose  culture  displays  the  greatest  health 
and  youth.  And,  it  may  well  be  assumed,  the  American 
Culture  of  to-day,  which  teaches  us  to  regard  both  health 
and  youth  as  the  highest  virtues  of  a  people,  ought  to  be 
best  qualified  to  understand  and  appreciate  this  fresh,  power- 
ful and  deep  Art. 


33 


PICTURES 


ALBRECHT,  KARL, 

Professor;  painter  at  Konigsberg  in  Prussia;  teacher  at  the 
Konigsberg  Royal  Academy  of  Arts.  Born  on  the  2nd  April 
1862  at  Hamburg;  pupil  of  Th.Hagen  at  the  Grand  Ducal 
School  of  Art,  Weimar.  Distinctions:  Small  gold  medal, 
Munich. 

"Still  Life11 — oil  painting. 
"In  thought" — oil  painting. 
"Flowers  and  Fruits" — oil  painting. 


BANTZER,  KARL, 

Dr.,  Professor;  painter  at  Dresden;  Director  of  a  Masters 
studio  and  member  of  the  Council  of  the  Dresden  Royal 
Academy  of  Fine  Arts.  Born  on  the  6th  of  August  1857  at 
Ziegenhain,  in  Hesse,  studied  at  the  Academies  in  Berlin  and 
Dresden  (L.  Pohle).  Distinctions:  Honorary  Doctor  of  the 
University  of  Marburg;  Prussian  large  gold  medal  for  Art; 
large  gold  medal  Dresden  and  numerous  other  exhibition 
medals. 

"Hessian  peasant  girl" — oil  painting. 
>*  35 


BAER,  FRITZ, 

Professor,  painter  at  Pasing,  near  Munich.  Born  on  the  18th 
August  1850  at  Munich;  studied  under  Baisch  at  Munich  for 
a  short  time,  continued  his  studies  later  on  independently. 
Distinctions:  Prussian  gold  medal  for  Art;  large  gold  medal 
Munich;  Archduke  Charles  Louis  prize  medal  Vienna  and 
numerous  other  exhibition  medals. 
"Stormy  evening" — oil  painting. 

VON  BARTELS,  HANS, 

Professor;  painter  at  Munich.  Born  on  the  25thDecember  1856 
at  Hamburg.  Pupil  of  Hardorff  and  Karl  Oesterley  at  that 
town,  then  a  student  at  the  Academies  at  Diisseldorf  and 
Munich.  Distinctions:  Member  of  the  Academy  in  Berlin; 
honorary  member  of  the  Academy  at  Munich,  of  the  Societe 
Royale  Beige  des  Aquarellistes  en  Bruxelles,  of  the  Royal 
Scotch  Society  of  Painters  in  Water  Colours  in  London,  &c. 
Prussian  gold  medal  for  Art;  large  gold  medals  Amsterdam, 
Budapest,  Munich,  Vienna  and  numerous  other  distinctions. 

"Pardon,  in  Brittany" — water  colour  painting. 

"Dutch  interior" — water  colour  painting. 

"Fish-market  at  Concarneau" — water  colour  painting. 

BECKER,  BENNO, 

Professor;  painter  at  Munich.  Born  on  the  3rd  April  i860 

at  Memel.  Self  taught.  Distinctions:  Numerous  exhibition 

medals. 

"Vineyards" — oil  painting. 

"Arco" — oil  painting. 

36 


BECKER-GUNDAHL,  CARL  JOHANN, 

Professor;  painter  atSolln  near  Munich.  Born  on  the  4th  April 
1856  at  Ballweiler  in  the  Palatinate  of  the  Rhine.  Studied  at 
the  Academy  at  Munich  as  well  as  under  Professor  G.  Max 
and  Diez  at  Munich.  Distinctions:  Honorary  member  of  the 
Academy  at  Munich.  Possessor  of  the  Prince  Regent  Luitpold 
medal. 

"Head  of  a  bishop" — charcoal  drawing-. 
"My  wife1' — coloured  drawing. 

Owned  by  the  Secessionist  Gallery  in  Munich. 
"Piccolo  and  beer  jug" — drawing. 
"Five  gentlemen  in  the  loggia" — drawing. 
"Professor  on  the  sea  beach" — drawing. 
"Anno  1400" — drawing. 
"The  revelation  of  death" — drawing, 
"Poet  in  the  palace  garden" — drawing. 
"The  dearest  one" — drawing. 


BERGMANN,  JULIUS, 

Professor;  painter  at  Carlsruhe  and  teacher  at  the  Grand 
Ducal  Academy  of  Fine  Arts  there.  Born  on  the  28th  February 
1 86 1  at  Nordhausen;  pupil  of  the  Stadel  Institute  of  Art 
at  Frankfort  o/the  Maine ;  studied  at  the  Academy  at  Carls- 
ruhe (Baisch).  Distinctions:  Numerous  exhibition  medals. 

"On  the  way" — oil  painting. 

37 


BLOS,  KARL, 

Professor;  painter  at  Munich.  Born  on  the  24th  November 
i860  at  Mannheim.  Studied  at  the  Academies  of  Munich 
(K.  Hoff)  and  Carlsruhe  (v.  Lindenschmit).  Distinctions: 
Prussian  gold  medal  for  Art;  large  gold  medals  Dresden, 
Munich,  Salzburg  and  numerous  other  exhibition  medals. 

"Own  portrait"— oil  painting. 
"Painting  of  the  Regent" — oil  painting. 


BOCKLIN,  ARNOLD, 

Dr.  and  Professor;  painter.  Born  on  the  16th  October  1827 
at  Basle.  Died  on  the  16th  January  1 901  at  Fiesole,  near  Flo- 
rence. Studied  at  the  Diisseldorf  Academy  under  Schirmer, 
also  in  Brussels  and  Paris.  Distinctions :  Member,  or  honorary 
member,  of  the  Academies  in  Berlin  and  Dresden;  possessor 
of  the  Prussian  gold  medal  for  Art;  the  Austrian  decoration 
for  Art  and  Science;  the  Grand  Ducal  Saxon  medal  for  Art 
and  Science;  honorary  doctor  and  possessor  of  numerous 
exhibition  medals,  &c. 

"At  the  Spring" — oil  painting. 

Owner:  Mr.  Hugo  Reisinger,  New  York. 
"Own  portrait,  with  fiddling  death" — oil  painting. 
"Surging  Sea" — oil  painting. 

Owned  by  the  Royal  National  Gallery  in  Berlin. 

38 


BORCHARDT,  HANS, 

painter  at  Munich.  Born  on  the  11th  April  1865  in  Berlin. 
Studied  at  the  Berlin  Academy  and  under  Baron  Uhde  at 
Munich.  Distinctions :  Various  exhibition  medals. 

"The  Pearl  Necklace" — oil  painting-. 


BRACHT,  EUGEN, 

Geheimer  Hofrat;  Professor;  painter  at  Dresden;  Director 
of  a  masters  studio  and  member  of  the  Academic  Council 
of  the  Academy  for  Fine  Arts  at  Dresden.  Born  on  the  3rd  June 
1842  at  Morges  on  the  Lake  of  Geneva;  studied  at  the  Aca- 
demy at  Carlsruhe  under  Schirmer  and  under  Hans  Gude  at 
Dusseldorf.  Distinctions:  Member  of  the  Academies  in  Ber- 
lin and  Munich:  possessor  of  the  Prussian  gold  medal  for 
Art;  the  large  gold  medal,  Vienna,  and  of  numerous  other 
exhibition  medals. 

"Sea  calm1' — oil  painting. 

"Mid-day  pause  in  Steel  Works" — oil  painting. 


BURGER,  FRITZ, 

painter  at  Charlottenburg,  near  Berlin.  Born  on  the  16th  July 
1867  at  Munich,  and  studied  at  the  Munich  Academy  and  in 
Paris.  Distinctions:  Prussian  large  gold  medal  for  Art;  large 
gold  medal  Liege  and  numerous  other  exhibition  medals. 

"The  White  Chair",  childrens  portrait — oil  painting. 

39 


CLARENBACH,  MAX, 

painter  at  Wittlaer,  near  Kaiserwerth,  one  the  Rhine.  Born 
on  the  19th  May  1880  at  Neuss.  A  pupil  of  Diicker's  at  the 
Academy  of  Art  at  Diisseldorf.  Distinctions :  Prussian  gold 
medal  for  Art;  large  gold  medal  Vienna,  and  various  other 
exhibition  medals. 

"In  February1' — oil  painting. 

Owner:  Herr  Hubert  Inden,  Diisseldorf. 

CRODEL,  PAUL, 

painter  at  Munich.  Born  on  7th  September  1862  at  Cottbus; 
his  teachers  were  Hagen  at  "Weimar  and  Baisch  at  Carlsruhe. 

"Mountain  village  in  Winter" — oil  painting. 
"Peasant's  farm  in  Snow" — oil  painting. 

DETTMANN,  LUDWIG, 

Professor;  painter  at  Konigsberg  in  Prussia;  Director  of  the 
Konigsberg  Royal  Academy  of  Art.  Born  on  the  25th  of  July 
1865  at  Adelbye,  near  Flensburg.  Studied  at  the  Berlin  Aca- 
demy under  Bracht,  Skarbina  and  Friedrich.  Distinctions: 
Prussia  gold  medal  for  Art;  large  gold  medals  Dresden, 
Vienna,  Grand  Prix  Venice,  and  numerous  other  exhibition 
medals. 

"The  Sacrement" — oil  painting. 

Owned  by  the  Municipal  Art  Gallery  in  Konigsberg. 
"Fishermen's  Churchyard" — oil  painting. 

Owned  by  the  Royal  National  Gallery  in  Berlin. 

40 


DEUSSER.  FRIEDRICH  AUGUST, 

painter  at  Diisseldorf.  Born  on  the  15th  February  1870  at  Co- 
logne o/the  Rhine;  studied  at  the  Diisseldorf  Academy.  Dis- 
tinction: Gold  medal  Cologne. 

"Curassiers" — oil  painting. 


DIEZ,  JULIUS, 

Professor;  painter  at  Munich.  Teacher  at  the  Munich  Royal 
School  of  Art.  Born  on  the  8th  September  1870  at  Nuremberg. 
Distinctions:  Gold  medal,  Munich. 

"The  Coachman" — distemper  colours. 
"Mosaic  design  for  the  University  of  Munich11 — distemper 
colours. 


DILL,  LUDWIG, 

Professor;  painter  at  Carlsruhe  and  teacher  at  the  Grand 
Ducal  Academy  of  Art  in  that  town.  Born  on  the  2nd  February 
1848  at  Gernsbach  in  Baden  and  studied  architecture  at  first 
turning  his  attention  entirely  to  painting  afterwards.  His 
teachers  were  Otto  Seitz  and  Piloty.  Distinctions:  Honorary 
member  of  the  Academy  at  Munich;  numerous  exhibition 
medals. 

"Storm  disappearing  over  the  Moors" — distemper  co- 
lours. 

"Foggy  evening  at  Dachau" — distemper  colours. 
"At  the  edge  of  the  forest" — distemper  colours. 

6  41 


DORSCH,  FERDINAND, 

painter  at  Dresden.  Born  on  the  10th December  1875  at  Funf- 
kirchen;  pupil  of  Leon  Pohle  and  Gotthardt  Kuehl  at  the 
Dresden  Academy  of  Art.  Distinctions:  Small  gold  medal, 
Dresden. 

"In  the  Dining  Room" — oil  painting. 


ENGEL,  OTTO  H., 

Professor;  painter  in  Berlin.  Born  on  the  27th  December  1866 
at  Erbach  in  the  Oden  Forest;  studied  at  the  Academies  in 
Berlin,  Carlsruhe  and  Munich.  Distinctions:  Member  of  the 
Berlin  Academy,  possessor  of  the  Prussian  large  gold  medal 
for  Art,  gold  plaque  Dresden  and  numerous  other  exhibition 
medals. 

"Frisian  girl" — oil  painting. 


ERLER,  FRITZ, 

Professor;  painter  at  Munich.  Born  on  the  15th  December 
1868  at  Frankenstein  in  Silesia;  studied  at  the  Art  School  in 
Breslau  and  at  the  Academy  Julian  in  Paris.  Distinctions: 
Small  gold  medal,  Munich. 

"Lady  with  feather  hat" — oil  painting. 

"Lady  with  black  gloves" — oil  painting. 

"The  Plague"  (Tryptichon) — distemper  colours. 


FRENZEL,  OSKAR, 

Professor;  painter  in  Berlin.  Born  on  the  12th  November  1885 
in  Berlin;  studied  at  the  Berlin  Academy  under  Meyerheim 
and  Bracht.  Distinctions:  Member  of  the  Berlin  Academy, 
possessor  of  the  Prussian  large  gold  medal  for  Art  and  nu- 
merous exhibition  medals. 

"Forest  meadow" — oil  painting. 


VON  GEBHARDT,  EDUARD, 

Dr.,  Professor;  painter  at  Diisseldorf;  teacher  at  the  Diissel- 
dorf  Royal  Academy  of  Art.  Born  on  the  13th  June  1838  at 
St.  Johann  in  Esthland;  pupil  at  the  Academies  of  St.  Peters- 
burg, Carlsruhe, Diisseldorf (Wilh.Sohn).  Distinctions:  Mem- 
ber or  honorary  member,  of  the  Academies  of  Antwerp, 
Berlin,  Brussels,  Munich  and  Vienna.  Honorary  Doctor  of 
the  University  of  Strassburg.  Possessor  of  the  Prussian  Order 
pour  le  merite  for  Science  and  Art,  of  the  Prussian  large 
gold  medal  for  Art,  the  large  gold  medal  Dresden,  Munich, 
Vienna  and  Paris  as  well  as  of  numerous  other  exhibition 
medals. 

"Christ  and  Nicodemus" — oil  painting. 

Owner:  Edward  Schulte,  Art  Gallery  in  Berlin. 

"The  death  of  Lazarus". 


Owner:  Herr  Georg  Oeder,  Diisseldorf. 


43 


GROEBER,  HERMANN, 

painter  at  Munich;  teacher  at  the  Royal  Academy  of  Fine 
Arts  in  that  town.  Born  on  the  1 6th  June  1865  at  Wartenberg; 
received  his  art  education  under  von  Lofftz  at  the  Academy 
of  Art  at  Munich.  Distinctions :  Various  exhibition  medals. 


d 


Portrait  of  Miss  Luccars" — oil  painting. 
"Portrait  of  Professor  Mysz" — oil  painting. 
"Bavarian  peasants" — oil  painting. 


VON  HABERMANN,  HUGO,  BARON, 

Professor;  painter  at  Munich ;  professor  at  the  Royal  Academy 
of  Fine  Arts  in  Munich.  Born  on  the  14th  Juni  1849  atDillingen 
in  Bavaria;  studied  at  the  Munich  Academy  under  Piloty. 
Distinctions:  Honorary  member  of  the  Academy  at  Munich; 
possessor  of  the  large  gold  medal  Munich  and  various  other 
exhibition  medals. 

"Portrait  of  a  woman"  (head  and  hand) — oil  painting. 
"Lady's  portrait"  (sitting) — oil  painting. 


HARTIG,  HANS, 

painter  in  Berlin.  Born  on  the  6th  October  1873  at  Carwin  in 
Pomerania;  studied  under  Bracht  at  the  Berlin  Academy. 

"In  a  Winter  Port"—  oil  painting. 
44 


VON  HAYEK,  HANS, 

painter  at  Dachau,  near  Munich.  Born  on  the  19th  December 
1869  at  Vienna;  studied  at  the  Art  Academy  of  that  town 
and  became  a  pupil  of  Marr  and  Ztigel  later  on  at  the  Art 
Academy  in  Munich.  Distinctions:  Various  exhibition  medals. 

"Snowed  up  peasants  farm" — oil  painting. 
"Port  in  Brittany1' — oil  painting. 


H  EI  CHERT,  OTTO, 

Professor;  painter  at  Konigsberg  in  Prussia;  teacher  at  the 
Konigsberg  Royal  Academy  of  Art.  Born  on  the  27th  Fe- 
bruary 1868  at  the  village  of  Kloster-Groningen  nearHalber- 
stadt;  studied  at  the  Dusseldorf  Academy  of  Art  and  at  the 
Academy  Julian  in  Paris.  Distinctions :  Prussian  gold  medal 
for  Art  and  other  exhibition  medals. 

"Own  portrait" — oil  painting. 


HENGELER,  ADOLF, 

Professor;  painter  at  Munich.  Born  on  the  1  Ith  February  1863 
at  Kempten;  studied  at  the  Polytechnic  and  the  Academy  at 
Munich.  Distinctions :  Large  gold  medal,  Salzburg,  and  various 
other  exhibition  medals. 

"Nymph  at  the  Spring" — oil  painting. 
"Sketch  of  an  interior" — oil  painting. 
"Summer-day  on  the  Chiem  Lake" — oil  painting. 

45 


HERRMANN,  HANS, 

Professor;  painter  in  Berlin.  Born  on  the  8th  March  1858  in 
Berlin ;  studied  at  the  Berlin  and  Diisseldorf  Academy  (tea- 
chers: Knille,  Gussow,  and  Wilberg  in  Berlin,  and  Ducker  in 
Diisseldorf).  Distinctions:  Member  of  the  Academy  in  Berlin; 
Prussian  large  gold  medal  for  Art;  large  gold  medal  Dres- 
den and  numerous  other  exhibition  medals. 

"Rotterdam" — oil  painting. 


HERTERICH,  LUDWIG, 

Professor;  painter  at  Munich;  Professor  at  the  Munich  Royal 
Academy  of  Fine  Arts.  Born  on  the  13th  October  1856  at 
Ansbach;  studied  under  Diez  at  Munich.  Distinctions:  Ho- 
norary member  of  the  Academy  at  Munich;  large  gold  medal 
Dresden,  Munich,  Paris  and  other  exhibition  medals. 

"Autumn" — oil  painting. 


nuiuuiu    - — wn  pcuiiLiiig. 

"In  the  morning" — oil  painting. 
"The  Joiners" — oil  painting. 


VON  HOFMANN,  LUDWIG, 

Professor;  painter  at  Weimar;  teacher  at  the  Grand  Ducal 
School  of  Art  at  Weimar.  Born  on  the  17th  August  1861  at 
Darmstadt;  studied  at  the  Dresden  Academy  and  also  at 
Carlsruhe  under  Ferdinand  Keller  and  finally  at  Paris.  Dis- 

46 


tinctions:  Prussia  gold  medal  for  Art,  diploma  of  honour 
Dresden,  various  exhibition  medals. 
"Dance" — oil  painting. 
"Dance" — oil  painting. 

Owned  by  the  Grand  Ducal  Museum  for  Art  at 
Weimar. 

HOLZEL,  ADOLF, 

Professor;  painter  at  Stuttgart;  teacher  at  the  Stuttgart  Royal 
Academy  for  Fine  Arts.  Born  on  the  13th  May  1853  at  Ol- 
miitz;  received  his  art  education  an  Vienna  and  studied 
under  W.  von  Diez  at  the  Munich  Academy.  Distinctions: 
Gold  medal,  Munich. 

"Garden  Restaurant" — oil  painting. 

JANK,  ANGELO, 

Professor,  painter  at  Munich;  teacher  at  the  Royal  Academy 
for  Fine  Arts  of  that  town;  studied  at  the  Munich  Academy 
under  Hocker  and  Lofftz.  Distinctions:  Large  gold  medal, 
Munich  and  various  other  exhibition  medals. 

"The  Hunt" — oil  painting. 

"The  Horsewoman" — oil  painting. 

JANSSEN,  GERHARD, 

painter  at  Diisseldorf.  Born  on  the  26th  September  1863  at 
Calcar  o/Rhine;  studied  under  Peter  Janssen,  Diisseldorf. 
"Dolle  Boel"— oil  painting. 

Owned  by  the  Municipal  Art  Gallery,  Wiesbaden. 

47 


JERNBERG,  OLOF, 

Professor;  painter  at  Konigsberg  in  Prussia;  teacher  at  the 
Konigsberg  Royal  Academy  of  Art.  Born  on  the  23rd  May 
1855  at  Diisseldorf.  His  teacher  was  Diicker  at  Diisseldorf. 
Distinctions :  Prussian  gold  medal  for  Art.  Various  exhibi- 
tion medals. 

"House  on  the  slope  of  the  Sands" — oil  painting. 


KAISER,  RICHARD, 

painter  at  Munich.  Born  on  the  13th  August  1868  at  Magde- 
burg; studied  at  the  Berlin  Academy  and  then  continued  his 
studies  independently.  Distinctions:  Gold  medal  Munich. 

"Field  loneliness" — oil  painting. 


KALLMORGEN,  FRIEDRICH, 

Professor;  painter  in  Berlin;  teacher  at  the  High  School  for 
Fine  Arts  connected  with  the  Royal  Academy  of  Art  in  Berlin. 
Born  on  the  15  th  November  1856  at  Altona;  studied  at  the 
Academies  of  Diisseldorf,  Carlsruhe  (Schonleber,  Baisch), 
Berlin  (Hans  Gude).  Distinctions:  Member  of  the  Berlin  Aca- 
demy; possessor  of  the  large  Prussian  gold  medal  for  Art, 
the  Bavarian  gold  Ludwigs  medal  for  Art,  the  large  gold 
medal  Melbourne,  Munich  and  other  exhibition  medals. 

"Gusty  "Weather,  the  Elbe  near  Altona- Hamburg" — 
oil  painting. 

48 


KAMPF,  ARTHUR, 

Professor;  painter  in  Berlin,  President  of  the  Royal  Academy 
of  Art  in  Berlin,  Director  of  a  masters  studio  for  historical 
painting  connected  with  the  Academy.  Born  on  the  28th 
September  1864  at  Aix-la-Chapelle;  studied  under  Peter 
Janssen  at  the  Academy  of  Arts  at  Diisseldorf.  Distinctions: 
Member  of  the  Academies  in  Berlin  and  Dresden;  possessor 
of  the  Prussian  gold  medal  for  Art,  the  large  gold  medals 
Dresden  and  Barcelona  as  well  as  of  numerous  other  exhi- 
bition medals. 

"Portrait" — oil  painting. 

"Portrait  of  Emperor  William  II." — oil  painting. 

"Benevolence" — oil  painting. 

"The  two  Sisters" — oil  painting. 

Owned  by  Geheimrat  Louis  Ravene,  Berlin. 


KAMPF,  EUGEN, 

Professor;  painter  at  Diisseldorf  Born  on  the  16  th  March  1861 
at  Aix-la-Chapelle;  studied  at  the  Academy  of  Antwerp. 
Distinctions :  Prussian  gold  medal  for  Art,  numerous  exhibi- 
tion medals. 

"November" — oil  painting. 


VON  KAULBACH,  FRIEDRICH  AUGUST, 

Professor  at  Munich.  Born  on  the  2nd June  1850  at  Hanover; 
studied   under  his    father,   Professor  Friedrich  Kaulbach. 

7  49 


Distinctions :  Member  of  the  Academy  in  Berlin,  honorary 
member  of  the  Academy  at  Munich;  possessor  of  the  Bava- 
rian Maximilian  Order  for  Science  and  Art,  of  the  Bavarian 
Prince-Regent  Luitpold  medal,  of  the  large  Prussian  gold 
medal  for  Art  and  of  numerous  exhibition  medals. 

"Miss  Ruth  St.  Denis" — oil  painting. 
"Miss  Geraldine  Farrar" — oil  painting. 
"Child  and  Cherries" — oil  painting. 


VON  KELLER,  ALBERT, 

Professor;  painter  at  Munich.  Born  on  the  27th  April  1844  at 
Gais  Switzerland);  studied  at  the  Munich  Academy  under 
Lenbach  and  Ramberg.  Distinctions:  Bavarian  Maximilian 
Order  for  Science  and  Art,  Prussian  gold  medal  for  Art, 
large  gold  medal  Munich,  and  various  other  exhibition  me- 
dals. Honorary  member  of  the  Academy  in  Munich. 

"The  happy  Sister" — study  in  oil. 

Owner:  The  Secession  Gallery  at  Munich. 
"Versailles" — oil  painting. 

Owned  by  the  Bavarian  State. 


KLEIN- CHEVALIER,  FRIEDRICH, 

Professor;  painter  in  Berlin.  Born  on  the  18th June  1862  at 
Diisseldorf;  studied  under  Peter  Janssen  at  the  Academy  at 
Diisseldorf. 

"German  Fishermen" — oil  painting. 
TO 


KLINGER.  MAX. 

Dr..  Professor;  painter,  engraver  and  sculptor  at  Leipsic. 
Born  on  the  1 8th February  1857  at  Leipsic.  Studied  as  a  painter 
at  the  Academies  of  Carlsruhe  and  Berlin  under  Grussow 
and  as  engraver  and  sculptor  independently.  Distinctions: 
Member  or  honorary  member  of  the  Academies  of  Berlin. 
Dresden.  Munich,  Stockholm.  Honorary  Doctor  of  the  Uni- 
versities of  Greifswald,  Munster  and  possessor  of  the  Prussian 
gold  medal  for  Art,  large  gold  medals  Vienna,  Dresden. 
Munich  and  numerous  other  exhibition  medal§. 

A  sequel  to  Brahm's  Fantasia — 18  engravings. 

From  the  Printroom  of  the  Roval  Museum  in  Berlin. 


KOEPPING,  KARL, 

Professor;  copperplate  engraver  in  Berlin.  Director  of  the 
masters  studio  for  copperplate  engraving  and  etching  con- 
nected with  the  Berlin  Academy  of  Arts.  Born  on  the  24th 
June  1848  at  Dresden:  studied  at  the  Munich  Academy,  and 
continued  his  studies  under  Waltner  (etching]  in  Paris. 
Distinctions:  Member  of  the  Academies  in  Berlin  and  Dres- 
den; possessor  of  the  Prussian  large  gold  medal  for  Art.  of 
the  large  gold  medals  Dresden.  Munich,  Vienna.  Grand  Prix 
Paris  1889  and  1900  as  well  as  of  numerous  other  exhibition 
medals. 


"Girl  at  a  Pond" — engraving. 


51 


KUEHL,  GOTTHARDT, 

Geheimrat,  Professor;  painter  at  Dresden.  Director  of  a 
masters  studio  and  member  of  the  Academic  Council  of  the 
Royal  Academy  of  Fine  Arts  in  Dresden.  Born  on  the  28th  No- 
vember 1 850  at  Ltibeck ;  studied  at  the  Munich  Academy  under 
W.  von  Diez  and  afterwards  in  Paris.  Distinctions:  Member 
and  honorary  member  of  the  Academies  at  Dresden  and  Mu- 
nich. Possessor  of  the  Prussian  larg  gold  medal  for  Art,  of  the 
gold  medals  Dresden,  Munich,  as  well  as  of  numerous  other 
home  and  foreign  exhibition  medals. 

"Corner  of  a  Drawing  Room" — oil  painting. 
Owner:  Mr.  Hugo  Reisinger  of  New  York. 

"Girl  on  a  green  box" — oil  painting. 

Owned  by  Herr  F.  Kiihne  of  Dresden. 


LANGHAMMER,  ARTHUR, 

Professor;  painter.  Born  on  the  6th  July  1855  at  Liitzen  and 
died  on  the  4th  July  1901  at  Dachau  near  Munich.  Studied  at 
the  Academies  of  Munich  and  Leipsic. 

"Girl  with  sheaves  of  corn" — oil  painting. 

Owned  by  the  Secession  Gallery  at  Munich. 

52 


LEIBL,  WILHELM, 

Professor;  painter.  Born  on  the  23rd October  1844  at  Cologne 
on  the  Rhine,  died  on  the  5th  December  1900  at  Wiirzburg. 
Studied  at  the  Munich  Academy  under  Piloty  and  Ram- 
berg  and  continued  his  studies  in  Paris.  Domiciled  himself 
later  on  at  Aibling.  Distinctions:  Member  of  the  Academy 
in  Berlin,  Prussian  large  gold  medal  for  Art.  and  various 
exhibition  medals. 

"Dachauer  women" — oil  painting. 

"Burgomaster  Klein" — oil  painting. 

"Man's  portrait" — oil  painting. 

Owned  by  the  Royal  National  Gallery  in  Berlin. 

"Dachauer  woman" 

Owned  by  Geheimrat  Dr.  Ed.  Simon,  Berlin. 


LEISTIKOW,  WALTER, 

Professor;  painter.  Born  on  the  25th  October  1865  at  Brom- 
berg;  died  on  the  24th  July  1908  in  Berlin.  Studied  at  the  Ber- 
lin Academy  (Hans  Gude).  Distinctions:  Numerous  exhibition 
medals. 

"Landscape  inThuringia" — oil  painting. 

Owned  by  Geheimrat  Eduard  Arnhold,  Berlin. 

53 


VON  LENBACH,  FRANZ, 

Professor;  painter.  Born  on  the  13th  December  1836  at  Schro- 
benhausen  in  Upper  Bavaria,  died  on  the  6th  May  1904  at 
Munich.  Attended  the  polytechnical  School  at  Augsburg 
and  a  wood  carving  studio  at  Munich.  Studied  at  the  Aca- 
demy there  under  Grafle  and  Piloty.  Distinctions:  Member 
of  the  Academies  in  Berlin,  Dresden,  Munich,  Paris,  and  of 
the  Institute  of  France,  &c.  Honorary  doctor  of  the  Univer- 
sity of  Halle;  possessor  of  the  Bavarian  Maximilian  Order 
for  Science  and  Art,  diploma  of  honour,  Berlin  1891,  and 
numerous  other  gold  medals  and  exhibition  medals. 

"Ecstasy" — oil  painting. 
"Bismarck" — oil  painting. 

Owner:  Mr.  Hugo  Reisinger  of  New  York. 
Portrait  "Theodore  Mommsen" — oil  painting. 

Owned  by  the  Royal  National  Gallery  in  Berlin. 
Portrait  of  "Frau  Knorr" — oil  painting. 
"An  old  Lady" — oil  painting. 
"Moltke" — oil  painting. 
"Ignaz  Dollinger" — pastel. 


LEPSIUS,  REINHOLD, 

painter  in  Berlin.  Born  on  the  14th  June  1857  in  Berlin.  Studied 
under  Lofftz  and  Lenbach  at  Munich.  Distinctions:  Large 
gold  medal  Florence,  gold  plaque  Dresden. 

"Portrait  of  a  Lady" — oil  painting. 

Owned  by  Dr.  "Werner  Weisbach  in  Berlin. 

54 


LIEBERMANN,  MAX, 

Professor;  painter  in  Berlin.  Born  on  the  20th  July  1847  in 
Berlin;  studied  at  the  Grand  Ducal  School  of  Art  at  Weimar 
and  under  vonMunkacsy.  Distinctions:  Member  or  honorary 
member  of  the  Academies  in  Berlin,  Dresden  and  Munich, 
of  the  Societe  Nationale  des  Artistes  Francais,  of  the  Societe 
Royale  des  Aquarellistes  en  Bruxelles,  possessor  of  the  Pruss- 
ian large  gold  medal  for  Art,  the  Grand  Prix  Paris,  Venice 
and  of  the  large  gold  medals  Dresden,  Vienna,  Munich  and 
of  numerous  other  exhibition  medals. 

"Portrait  of  Dr.  W.  Bode" — pastel  study. 

Owned  by  Geheimrat  Dr. W.  Bode,  Charlottenburg. 
"Flax  barn  at  Laren  (Holland)". 

Owned  by  the  Royal  National  Gallery  in  Berlin. 
"Polo-players". 

Owned  by  Hugo  Reisinger. 

VON  LOFFTZ.  LUDWIG, 

Professor;  painter  at  Munich.  Professor  at  the  Munich 
Academy  of  Fine  Arts.  Born  on  the  21st  June  1845  at  Darm- 
stadt; studied  under  Hoffmann  at  Darmstadt,  Raup  and  Kre- 
ling  at  Nuremberg,  and  at  the  Munich  Academy.  Distinctions : 
Member,  or  honorary  member,  of  the  Academies  at  Antwerp, 
London,  Munich  and  Vienna;  possessor  of  the  BavarianMaxi- 
milian  Order  for  Science  and  Arts,  the  large  gold  medals 
Antwerp,  London,  Munich,  Vienna,  and  of  numerous  other 
exhibition  medals. 

"Cardinal  playing  music" — oil  painting. 
Owned  by  Baron  von  Wendelstadt. 

55 


LOOSCHEN,  HANS, 

Professor;  painter  in  Berlin.  Born  on  the  23rd  June  1859  in 
Berlin.  Studied  at  the  Academy  in  Berlin.  Distinction:  Prussian 
gold  medal  for  Art. 

"The  blue  Clock". 


VON  MENZEL,  ADOLF, 

Dr. , Wirklicher  Geheimrat;  Professor;  painter.  Born  on  the 
8th  December  18 15  at  Breslau,  died  on  the  9th  February  1905 
in  Berlin.  Studied  for  a  short  time  at  the  Berlin  Academy, 
and  afterwards  by  himself.  Distinctions:  Honorary  Senator 
and  member  of  the  Berlin  Academy,  member,  or  honorary 
member,  of  numerous  Academies  at  home  and  abroad,  ho- 
norary doctor  of  the  University  in  Berlin;  possessor  of  the 
Bavarian  Maximilian  Order  for  Science  and  Art,  the  Austrian 
decoration  for  Art  and  Science,  the  Prussian  Orders  of  the 
Black  Eagle  and  pour  le  merite  for  Science  and  Art,  the 
Prussian  large  gold  medal  for  Art,  of  numerous  first  awards 
at  all  large  exhibitions  at  home  and  abroad. 

■'The  Garden  of  Prince  Albrecht's  Palace" — oil  painting. 

"A  Ball  Supper" — oil  painting. 

"Building  site  with  willows" — oil  painting. 

"The  Theatre  Gymnase" — oil  painting. 

Three  studies  for  the  painting  "Coronation  of  King 

Wilhelml.  at  Konigsberg,  1861": 

a.  Minister  of  State  von  Bernuth. 

b.  Minister  of  State  von  der  Heydt. 

c.  Prince  Kraft  Hohenlohe. 

56 


a.  "Old  man  with  hat  in  the  right  hand" — pencil  drawing. 

b.  "Italian  workman" — pencil  drawing. 

"Officer  with  hat  and  stick  sitting  at  a  table" — pencil 

drawing. 
"Man  in  a  laced  coat  sitting  on  a  sofa" — coloured  chalks. 
"Study  of  a  Court  Festival  (Concert)" — pencil  drawing. 

a.  "Elk  in  the  Munich  Museum" — pencil  drawing. 

b.  "Yoked  oxen" — pencil  drawing. 

a.  "Street  in  a  mountain  village" — pencil  drawing. 

b.  "Houses  in  the  mountains" — pencil  drawing. 

a.  "Staircase  in  a  Gothic  House" — pencil  drawing. 

b.  "Violins  and  details" — pencil  drawings. 

Owned  by  the  Royal  National  Gallery  in  Berlin. 

MEYERHEIM,  PAUL, 

Professor;  painter  in  Berlin.  Teacher  at  the  High  School  for 
Fine  Arts  connected  with  the  Berlin  Royal  Academy.  Born 
on  the  13th  July  1842  in  Berlin;  studied  under  his  father  Fre- 
derick Eduard  Meyerheim  and  at  the  Academy  in  Berlin.  Dis- 
tinctions: Member  of  the  Academies  in  Berlin  and  Antwerp; 
possessor  of  the  Prussian  large  gold  medal  for  Art,  honorary 
diploma  Dresden,  the  large  gold  medals  Munich  and  Paris 
and  of  numerous  other  exhibition  medals. 

"Luxor" — oil  painting. 

"Street  in  Cairo" — oil  painting. 

MODERSOHN,  OTTO, 

painter  at  Worpswede,  near  Bremen.  Born  on  the  22nd  Fe- 
bruary 1865  atSolst.  Studied  at  the  Academies  of  Diisseldorf, 

8  57 


Carlsruhe  (Baisch)  and  Berlin  (Bracht).  Distinctions :  Various 
exhibition  medals. 

"Evening  Sun" — oil  painting-. 

MUNZER,  ADOLF, 

painter  at  Munich.  Born  on  the  5th  December  1870  at  Pless 
in  Upper  Silesia;  studied  at  the  Polytechnic  at  Breslau  and 
the  Munich  Academy  under  Hocker.  Distinctions:  Gold  me- 
dal Munich. 

"Costume  sketch'1 — oil  painting. 

"Study  of  a  portrait" — oil  painting. 

"Young  woman  from  Upper  Bavaria" — oil  painting. 

NISSL,  RUDOLF, 

painter  at  Munich.  Born  on  the  13th  April  1870  at  Fiigen 
in  the  Tyrol;  studied  under  Joh.  Herterich,  P.  Hocker  and 
L.  von  Lofftz  at  the  Munich  Academy.  Distinctions:  Various 
exhibition  medals. 

"Interior"— oil  painting. 

"Still  life.  Nosegay  of  flowers" — oil  painting. 

OLDE,  HANS, 

Professor;  painter  at  Weimar,  Director  of  the  Grand  Ducal 
School  of  Art  at  Weimar.  Born  on  the  27th  April  1855  at 
Siiderau  in  Holstein;  studied  at  the  Academy  in  Munich  under 
Lofftz  and  at  the  Ecole  Julian  in  Paris.  Distinctions :  Prussian 
gold  medal  for  Art  and  various  exhibition  medals. 
"Winter  Sun" — oil  painting. 

Owner:  The  Royal  National  Gallery  Berlin. 

58 


VON  PETERSEN,  HANS, 

Professor;  painter  at  Munich.  Born  on  the  24th  February  1850 
at  Husum  (Schleswig);  studied  in  London  and  Paris.  Distinc- 
tions: Prussian  gold  medal  for  Art,  large  gold  medal  Munich 
and  numerous  other  exhibition  medals. 

"A  thaw" — oil  painting. 

PLEUER,  HERMANN, 

Professor;  painter  at  Stuttgart.  Born  on  the  5th  April  1863 
at  Schwabisch  Gmiind.  Studied  at  the  Academies  of  Stutt- 
gart and  Munich. 

"Evening" — oil  painting. 

PUTTNER,  WALTER, 

painter  at  Munich.  Born  on  the  9th  October  1872  at  Leipsic. 
Studied  under  Hocker  at  Munich.  Distinctions :  Various  ex- 
hibition medals. 

"Interior" — oil  painting. 

PUTZ,  LEO, 

painter  at  Munich.  Born  in  1869  at  Meran;  studied  at  the 
Munich  Academy  and  at  the  Academy  Julian  in  Paris. 

"Pauline" — oil  painting. 
"Flowers" — oil  painting. 
"Flowers" — oil  painting. 

8*  59 


REINICKE,  REN£, 

painter  at  Munich.  Born  on  the  22nd  March  i860  at  Strenz- 
Naundorf  in  Saxony;  studied  at  the  Grand  Ducal  School  of 
Art  at  Weimar  and  then  under  von  Gebhardt  at  Dusseldorf 
and  under  Piglhein  at  Munich.  Distinctions :  Prussian  gold 
medal  for  Art  and  various  exhibition  medals. 

"The  Watering  Place  Promenade" — water  colour  pain- 
ting. 

"In  the  studio" — water  colour  painting. 

"Five  ladies  in  a  Cafe" — water  colour  painting. 

"The  Paintress" — drawing. 

"Depressed" — drawing. 

"Gossip" — drawing. 

SAMBERGER,  LEO, 

Professor;  painter  at  Munich.  Born  on  the  14th  August  1861 
at  Ingolstadt.  His  teachers  were  Benczur  and  Lindenschmit 
at  the  Munich  Academy.  Various  exhibition  medals. 

"Portrait  of  my  Father" — oil  painting. 

"Portrait  of  Dr.  Schnitzler" — oil  painting. 

"Portrait  of  the  painter  Wopfner" — oil  painting. 

SCHOENLEBER,  GUSTAV, 

Professor;  painter  at  Carlsruhe;  teacher  at  the  Carlsruhe 
Grand  Ducal  Academy  for  Fine  Arts.  Born  on  the  3rd  De- 
cember 1 85 1  at  Bietigheim  in  Wtirttemberg;  studied  under 
A.Lier  at  Munich.  Distinctions:  Member  of  the  Academies  in 
Berlin,  Dresden  and  Munich;  possessor  of  the  Baden  gold 
medal  for  Art  and  Science,  the  Prussian  large  gold  medal 

60 


for  Art,  the  large  gold  medals  Munich  and  Vienna  and  nume- 
rous other  exhibition  medals. 

•'Italian  Landscape" — oil  painting. 

Owned  by  the  Prince-Regent  of  Bavaria. 

SCHRAMM-ZITTAU,  RUDOLF, 

Professor;  painter  at  Munich.  Born  on  the  ist  March  1874  at 
Zittau;  attended  the  Academies  at  Dresden,  Carlsruhe,  and 
Munich  (Ziigel).  Distinctions:  Large  gold  medal  Venice  and 
various  exhibition  medals. 

"Ducks'1 — oil  painting. 

"Ducks" — oil  painting. 

"Feeding  hens" — oil  painting. 

SCHULTE  IM  HOFE,  RUDOLF, 

Professor;  painter  in  Berlin.  Born  on  the  9th  January  1865  at 
Ueckendorf  in  Westphalia;  studied  under  Schmid-Reutte  at 
Munich  and  at  the  Academy  in  that  town  under  Lofftz.  Dis- 
tinctions: Prussian  gold  medal  for  Art. 
"Menzel" — oil  painting. 

Owned  by  Herr  Franz  Kiihne  at  Dresden. 

SKARBINA,  FRANZ, 

Professor;  painter  in  Berlin.  Born  on  the  24th  February  1849 
in  Berlin;  studied  at  the  Berlin  Academy  and  in  Paris.  Distinc- 
tions: Member  of  the  Academies  of  Antwerp  and  Berlin: 
Prussian  large  gold  medal  for  Art;  large  gold  medals  Barce- 
lona, Dresden  and  numerous  other  exhibition  medals. 
"The  White  Lady" — oil  painting. 

61 


SPERL,  JOHANN, 

painter  at  Bad  Aibling  in  Upper  Bavaria.  Born  on  the  3rd  No- 
vember 1840  at  Buch  (District  Fiirth  in  Bavaria);  studied  un- 
der Kreling,  Anschiitz,  and  Bamberg  at  Munich. 

"Village  in  Upper  Bavaria  (Garden  in  Kutterling)" — oil 
painting. 

STADLER,  TONL 

Professor;  painter  at  Munich.  Born  on  theo,thJuly  i85oatGol- 
lersdorf  in  Lower  Austria  and  is  self  taught.  Distinctions: 
Honorary  member  of  the  Munich  Academy;  possessor  of 
the  large  gold  medal  Dresden  and  various  other  exhibition 
medals. 

"In  Erdinger  Moss" — oil  painting. 

"Bridge  by  the  Villages" — oil  painting. 

VON  STUCK,  FRANZ, 

Professor;  painter  at  Munich.  Professor  at  the  Munich  Royal 
Academy  for  Fine  Arts.  Born  on  the  23rd  February  1863  at 
Tettenweis;  studied  at  the  Munich  Academy.  Distinctions: 
Honorary  member  of  the  Dresden  Academy  and  possessor  of 
the  large  gold  medals  Budapesth,  Dresden,  Munich,  and  Paris, 
and  of  the  Bavarian  Maximilian  Order  for  Science  and  Art. 

"Own  portrait" — oil  painting. 

"Study  for  a  portrait" — oil  painting. 

"Infernal  Regions" — oil  painting. 

"Pan" — oil  painting. 

"Listening  Fauns" — oil  painting. 

Owned  by  Mr.  Hugo  Reisinger  of  New  York. 

62 


THOMA,  HANS, 

Dr.,  Professor;  painter  at  Carlsruhe.  Director  of  the  Grand 
Ducal  Picture  Gallery  and  teacher  at  the  Grand  Ducal  Aca- 
demy of  Fine  Arts  at  Carlsruhe.  Born  on  the  2nd  October 
1839  at  Bernau  in  Baden.  Studied  under  Schirmer  at  the 
Carlsruhe  Academy.  Distinctions:  Member  or  honorary 
member  of  the  Academies  at  Dresden  and  Munich;  Ho- 
norary Doctor  of  the  Heidelberg  University;  possessor  of 
the  Badenese  gold  medal  for  Art,  the  Bavarian  Maximilian 
Order  for  Science  and  Art,  and  the  Prussian  gold  medal 
for  Art. 

"Lago  Maggiore  1880" — oil  painting. 
"Valley  near  Bernau,  the  home  of  the  artist  1905" — oil 
painting. 
"Midsummers  Day" — oil  painting. 

Owned  by  Herr  Heinrich  Strauss  at  Magdeburg. 


THONY,  EDUARD, 

painter  at  Munich.  Born  in  1866  at  Brixen;  studied  at  the 
Munich  Academy. 

"Shooting  ice"— drawing. 
"In  the  Peasant  Inn" — drawing. 
"In  Port" — drawing. 
"Presentiment" — drawing. 
"Indignation" — drawing. 
"Appendages" — drawing. 
"After  the  Sermon" — drawing. 

63 


TRUBNER,  WILHELM, 

Professor;  painter  at  Carlsruhe;  teacher  at  the  Grand  Ducal 
Academy  for  Fine  Arts  at  Carlsruhe.  Born  on  the  2nd  February 
1 85 1  at  Heidelberg;  studied  under  Canon  (Straschiripka)  at 
Stuttgart,  Leibl  at  Munich  and  at  the  Academies  for  Fine  Arts 
at  Carlsruhe  and  Munich.  Distinctions:  The  Hessian  medal 
for  Art  and  Science,  the  Wiirttemberg  medal  for  Art  and 
Science,  large  gold  medal  Chicago  and  various  other  Ex- 
hibition medals. 

"The  Watchman'1 — oil  painting. 

"View  from  the  Heidelberg  Castle" — oil  painting. 

"Castle  Heimsbach" — oil  painting. 

Owned  by  Mr.  Hugo  Reisinger  of  New  York. 


VON  UHDE,  FRITZ, 

Professor;  painter  at  Munich.  Born  on  the  22nd  May  1848  at 
Wolkenburg  in  Saxony;  was  an  officer  until  1877  and  became 
a  pupil  of  Munkascy.  Distinctions:  Member  of  the  Acade- 
mies at  Antwerp,  Berlin,  Dresden,  and  Munich;  possessor 
of  the  Bavarian  Maximilian  Order  for  Science  and  Art,  the 
Prussian  gold  medal  for  Art,  the  large  gold  medals  Munich, 
Vienna,  &c,  the  Grand  Prix  Paris  1889  and  1900  as  well  as 
numerous  other  exhibition  medals. 

"Evening  Music" — oil  painting. 
"Going  Home" — oil  painting. 

"Suffer  little  Children  to  come  unto  Me" — oil  painting. 
Owned  by  Frau  Tina  Schoen-Renz  in  Worms. 

64 


VINNEN,  KARL, 

painter  at  Osterndorf  in  Hanover.  Born  on  the  28th  August 
1863  at  Bremen;  studied  at  the  Diisseldorf  Academy  of  Art 
and  at  Carlsruhe.  Distinctions:  Prussian  gold  medal  for  Art, 
the  large  gold  medals  Dresden  and  Vienna,  and  other  exhi- 
bition medals. 

"Spring  in  the  Forest" — oil  painting. 


VOGEL,  HUGO, 

Professor;  painter  in  Berlin.  Born  on  the  15th  February  1855 
at  Magdeburg;  studied  at  the  Academy  at  Diisseldorf  (v.  Geb- 
hardt  and  Wilh.  Sohn)  and  in  Paris  (Lefebvre).  Distinctions: 
Member  of  the  Academy  in  Berlin  and  possessor  of  the 
Prussian  large  gold  medal  for  Art  and  numerous  exhibition 
medals. 

"Portrait  of  a  Boy" — oil  painting. 
Owned  privately. 

ZUGEL,  HEINRICH, 

Professor;  painter  at  Munich;  teacher  at  the  Royal  Aca- 
demy for  Fine  Arts  in  Munich.  Born  on  the  22ndOctober  1850 
at  Murrhardt  in  "Wiirttemberg.  Studied  under  Holder  and  at 
the  Stuttgart  Academy  of  Art.  Distinctions:  Member  of  the 
Academy  in  Berlin  and  possessor  of  the  Maximilian  Order 
for  Science  and  Art,  the  Prussian  gold  medal  for  Art,  and 
numerous  exhibition  medals. 

"Oxen  going  through  Water" — oil  painting. 
"Salzen  (sheep)" — oil  painting. 

9  65 


SCULPTURE 


BERMANN,  CIPRI  ADOLF, 

Professor;  sculptor  at  Munich.  Born  on  the  25th  August  1862 
atVohrenbach  in  the  Black  Forest;  studied  at  the  Grand 
Ducal  Academy  of  Art  at  Carlsruhe.  Distinctions:  Numerous 
exhibition  medals. 

"Old  man's  head" — bronze. 
"Women's  head" — marble. 
"Huntress" — statuette,  bronze. 


FASSNACHT,  JOSEF, 

sculptor  at  Munich.  Born  on  the  1  Ith  January  1873  atMittel- 
streu;  studied  at  the  Academy  at  Munich.  Distinctions: 
Various  medals. 

"The  Pet"— marble  bust. 


GAUL,  AUGUST, 

Professor;  sculptor  at  Grunewald  near  Berlin.  Born  on  the 
22nd  October  1869  at  Gross- Auheim  near  Hanau;  studied  at 
the  Berlin  Academy  (Reinhold  Begas).  Distinctions:  Member 
of  the  Berlin  Academy. 

"Ostrich" — bronze. 
"Otters" — bronze. 

Owned  by  Herr  Paul  Cassirer,  Berlin. 

66 


VON  GOSEN,  THEODOR, 

Professor;  sculptor.  Born  on  the  iothJanuar  1873  at  Augs- 
burg; studied  and  W.  von  Ruemann  at  Munich  1895 — 1896  at 
Nuremberg.  Since  1906  teacher  at  the  Breslau  Royal  School 
of  Art. 

"Presentation  gift  for  Professor  William  Burges". 

HAHN,  HERMANN, 

Professor;  sculptor  at  Munich.  Born  on  the  28th  Novem- 
ber 1868  at  Kloster  Veilsdorf  in  Saxe-Meiningen;  pupil  of 
Ruemann's  at  Munich.  Distinctions :  Honorary  member  of  the 
Academy  at  Munich;  possessor  of  various  exhibition  medals. 

"Adam" — statuette,  bronze. 

"Eve" — statuette,  bronze. 

VON  HILDEBRAND,  ADOLF, 

Dr.,  Professor;  sculptor  at  Munich.  Born  on  the  6th  October 
1847  at  Marburg;  studied  under  Kreling  at  Nuremberg. 
Distinctions:  Member,  or  honorary  member,  of  the  Acade- 
mies in  Berlin,  Dresden,  Munich,  and  of  the  Grand  Ducal 
Art  School  at  "Weimar.  Honorary  doctor  of  the  Universities 
of  Erlangen  and  Marburg;  possessor  of  the  Bavarian  Maxi- 
milian Order  for  Science  and  Art,  the  Prussian  Order  pour 
le  merite  for  Science  and  Art,  the  Prussian  large  gold  medal 
for  Art,  the  Grand  Ducal  Saxon  Order  pour  le  merite  for 
Art  and  Science,  as  well  as  of  numerous  exhibition  medals. 
"Professor  Flossmann"— bust  in  bronze. 
Owned  by  the  Bavarian  State. 

9*  67 


JANSSEN,  ULFERT, 

sculptor  at  Munich.  Born  on  the  11th  December  1878   at 
Bielawe  in  Silesia;  pupil  of  Ruemann  at  Munich. 
"Bust"— bronze. 

KLIMSCH,  FRITZ, 

sculptor  at  Charlottenburg,  near  Berlin.  Born  on  the  10th  Fe- 
bruary 1870  at  Frankfort  on-the-Maine.  Studied  at  the  Berlin 
Academy. 

"Geheimrat  Professor  Dr.  Karl  Binding,  Rector  of  the 
University  of  Leipsic" — bronze  bust. 
"Frau  Victoria  Exner" — marble  bust. 

Owner:  Dr.  W.  Lauter,  Frankfort  on-the-Maine. 

KRAUS,  AUGUST, 

sculptor  at  Grunewald,  near  Berlin.  Born  on  the  9th  July  1868 
at  Ruhrort;  studied  under  Reinhold  Beg-as  at  the  Academy 
in  Berlin.  Distinctions:  Prussian  gold  medal  for  Art. 

"Child,  running" — bronze. 

"Cat,  running" — bronze. 

LEDERER,  HUGO, 

sculptor  in  Berlin.  Born  on  the  16th  November  187 1  at  Znaim; 
pupil  of  the  Technical  School  for  Ceramics  at  that  place; 
studied  under  Schilling  at  Dresden,  Behrens  at  Breslau,  and 
Toberentz  in  Berlin. 

"Bowl" — bronze. 

"Pfitzner" — marble  bust. 

68 


LEWIN-FUNCKE,  ARTHUR, 

sculptor  in  Charlottenburg.  Born  on  the  9th  November  1866 
at  Dresden;  studied  at  the  Berlin  Academy  under  Herter  and 
at  the  Academie  Julian  in  Paris.  Distinctions:  Prussian  gold 
medal  for  Art  and  various  exhibition  medals. 
"Mother". 

Owned  by  Mr.  Edward  D.  Adams  of  New  York. 

NETZER,  HUBERT, 

Professor;  sculptor  at  Munich.  Born  on  the  5th  October  1865 
at  Isny  in  Wiirttemberg;  studied  at  the  Munich  Academy 
(Ruemann).  Distinctions:  Various  exhibition  medals. 
"Diana" — statuette,  bronze. 

SCHAPER,  FRITZ, 

Dr.,  Professor;  sculptor  in  Berlin.  Born  on  the  31st July  1841 
at  Alsleben  on  the  Saale.  Studied  under  Albert  Wolff  and  at 
the  Berlin  Academy.  Distinctions:  Member  of  the  Art  Aca- 
demies Berlin,  Dresden,  Munich,  and  Vienna  and  of  the  Aca- 
demy for  Architecture  in  Berlin;  Honorary  Doctor  of  the 
University  of  Pittsburg  in  America;  possessor  of  the  Prussian 
order  pour  le  merite  for  Science  and  Art,  the  Prussian  large 
gold  medal  for  Art,  and  of  numerous  exhibition  medals. 
"Lessing" — statuette. 

SCHWEGERLE,  HANS, 

Sculptor  and  painter  at  Munich.  Born  on  the  2nd  May  1882 
at  Liibeck;  studied  at  the  Art  School  at  Liibeck  and  at  the 
Academy  at  Munich  (Ruemann,  Kurz  and  Hildebrand). 
"Fraulein  J.  H." — bust  in  shell  lime  stone. 

69 


VON  STUCK,  FRANZ, 

Professor  (see  "Painters"). 

'  'Athlete1 ' — bronze . 
"Amazon"- — bronze. 
"Dancing  woman" — bronze. 

TASCHNER,  IGNATIUS, 

Professor;  painter  at  Munich.  Born  on  the  9th  April  1871  at 
Kissingen.  Studied  at  the  Munich  Academy.  Distinctions: 
Various  exhibition  medals. 

"Christ" — in  silver. 

"Schiller" — bronze  with  stone  pedestal. 

"Group  of  Stags" — silver  with  wooden  pedestal. 


TUAILLON,  LOUIS, 

Professor;  sculptor  in  Berlin,  director  of  a  masters  studio 
for  sculpture  connected  with  the  Royal  Academy  of  Arts  in 
Berlin.  Born  on  the  7th  September  1862  in  Berlin.  Studied  at 
the  Academy  in  Berlin.  Distinctions:  Member  of  the  Berlin 
Academy;  possessor  of  the  Bavarian  Maximilian  Order  for 
Science  and  Arts,  the  Prussian  large  gold  medal  for  Art,  and 
numerous  exhibition  medals. 

"Emperor  Frederick  III" — bronze. 
"Stag"— bronze. 

70 


NOTICE 

For  a  long  time  past  the  idea  has  been  entertained  of  exhi- 
biting in  New  York  to  the  General  Public  a  small  and  select 
collection  of  works  representing  German  contemporary  Art. 
The  great  difficulty  that  lays  in  the  way  of  the  execution  of  the 
idea  was  the  finding  of  a  suitable  place  for  such  an  Exhibition. 
When,  therefore,  in  response  to  an  application  made  by 
Mr.Buenz,  Imperial  Consul  General,  to  the  Metropolitan  Mu- 
seum of  Art  the  management  was  kind  enough  to  consent  to  a 
series  of  rooms  in  the  new  building  of  the  Museum  being  used 
for  this  purpose,  the  idea  was  welcomed  in  German  official 
and  Art  circles  with  lively  satisfaction  and  sympathy,  and 
active  preparations  were  begun  for  a  German  Art  Exhibition 
in  New  York.  Mr.  Hugo  Reisinger  of  New  York,  a  connoisseur 
and  warm  patron  of  German  Art,  as  well  as  the  owner  of  an 
excellent  collection  of  German  Art  Works,  offered  to  defray 
the  expenses  connected  with  the  Exhibition  and  to  use  his 
influence  in  German  Art  circles  to  induce  an  active  partici- 
pation in  the  same.  The  idea  was  warmly  supported  by  the 
Imperial  Government, which  called  upon  two  wellknown  Ger- 
man Artists,  Professor  Arthur  Kampf  in  Berlin,  the  President 
of  the  Royal  Academy  of  Art,  and  Professor  Carl  Marr  at 
Munich  in  conjunction  with  Mr.  Reisinger  to  arrange  for  a 
selection  of  the  Art  works  to  be  exhibited.  His  Majesty  the 
German  Emperor  most  graciously  gave  his  sanction  to 
the  loan  of  many  valuable  works  from  the  Royal  National 
Gallery  in  Berlin,  including  some  by  Bocklin,  Leibl,  Lenbach 
and  Menzel  for  the  purposes  of  the  Exhibition.  The  govern- 
ments of  various  Federal  States,  as  well  as  the  proprietors  of 


private  Galleries  likewise  consented  to  place  works  of  Art 
at  the  disposal  of  the  Exhibition  management.  The  setting 
up  of  the  Exhibition  in  Germany  was  entrusted  to  a  Com- 
mission comprising  Dr.Wilhelm  Bode,  the  Director-General 
of  the  Royal  Museums  in  Berlin,  Herr  Goetsch  of  the  Fo- 
reign Office,  Dr.  Theodore  Lewald,  Privy  Councillor,  for- 
merly Commissioner  General  of  Germany  to  the  Universal 
Exhibition  at  St.  Louis  1904  and  Dr.  Friedrich  Schmidt,  the 
chief  of  the  department  for  Science  and  Art  in  the  Prussian 
Ministry  of  Education.  The  publication  of  the  Catalogue  has 
been  effected  by  Dr.  Lewald  in  conjunction  with  the  above 
mentioned  gentlemen. 

Complying  with  a  wish  expressed,  the  collection  will  also 
be  exhibited  in  Boston  in  the  Building  of  the  Copley  Society 
and  in  Chicago  at  the  Art  Institute. 


72 


' 


Carl  Bios 


Portrait  of  the  Regent 


Carl  Albrecht 


In  thought 


Carl  Bantzer 


Hessian  peasant  girl 


Hans  von  Bartels 


Pardon,  in  Brittany 


By  permission  of  Amsler  A  Ruthardt,   Berlin. 


Benno  Becker 


Arco 


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Julius  Bergmann 


On  the  way 


B7  pertnlaalorj  of  F.  Bruckmnnn   A-G.,  Munich. 


Arnold  Boecklin 


Own  portrait,  with  fiddling:  Death 


Arnold  BocckHn 


A:   :zc   -;?ring 


Br  permission  or  K.  Hriifkinann   A.G.,   Munich. 


Arnold  Boecklin 


Surging:  Sea 


Fritz  Burger 


The  white  chair  (childrens   portrait) 


Oscar  Frenzel 


Forest  meadow 


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Copyright   18118  by  Photographlsche  Gosellscliaft  Berlin. 


Eduard  von  Gebhardt 


Christ  and  Nicodemus 


By  permission  of  F.  Bruckmann    A.-G.,   Munich. 

Hermann  Groeber 


Bavarian  peasants 


By  permission  or  F.  Brockmann  A.-G.,   Munich. 


Hugo  von  Habermann 


Portrait  of  a  woman  (head  and  hand) 


Hans  Hartigf 


In  a  winter  port 


Adolf  Hengeler 


Nymph  at  the  Spring 


Hans  Herrmann 


Rotterdam 


Ludwig  Herterkh 


Autumn 


Ludwigf  von  Hofmann 


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ance 


Angelo  Jank 


The  Hunt 


Arthur  Kampf 


Benevolence 


Eugen  Kampf 


November 


By  permission  of  MUnchener  Graulilscho  Gesellschnrt  Pick  A  Co.,    Munich. 


F.  A.  von  Kaulbach 


Miss  Ruth  St.   Denis 


Friedrich  Klein-Chevalier 


German  fishermen 


Max  Klinger 


Prometheus  Liberated 


By  permission  of  Amsler  &  Rutharctt,   Berlin. 


Max  Klinger 


Brahms  Phantasy:  „Titans' 


Karl  Koepping 


Girl  at  a  pond 


Wilhelm  Leibl 


Burgomaster  Klein 


By  permission  of  PliotograpIilsHif  Gesellschaft  Beri 


Wilhelm  Leibl 


Dach 


auer  women 


Franr  von  Lenbach 


Bisrr.arck 


Franz  von  Lenbach 


Portrait  of  Frau   Knorr 


Reinhold  Lepsius 


Portrait  of  a  lady 


Max  Liebermann 


Dr.  W.   Bode,   Study 


St    c«rmissioa  of  F.  BzucJunaiui   A.-G 


Max  Liebermann 


Flax  barn  in  Laren  (.Holland) 


Hans  Looschen 


The  blue  clock 


By  permission  of  F.   Bruckmnnn  A.-G.,   Munich. 


Adolph  von  Menzel 


The  Theatre  Gymnase 


By  permission  of  F.  Bruckmann   A.-G.,   Munich. 


Adolph  von  Menzel 


Building  site  with  willows 


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Adolph  von  Menzel 


The  palace  garden  of  Prince  Albrecht 


Ad.  Miinzer 


Young;  woman  from  Upper  Bavaria 


Leo  Samberger 


Portrait  of  Dr.  Schnitzler 


Karl  Schonleber 


Italian  Landscape 


Rud.  Schramm-Zittau 


Feeding-  hens 


Franz  Skarbina 


The  white  Lady 


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Eduard  Thony 


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Wilh.  Triibner 


The  watchman 


By  permission  of  l-'ranz  Hanfstitngl,    Munich. 


Fritz  von   Uhde 


Going  home 


Heinrich  von  Zikgel 


Through  water   (Cattle) 


C.  A.  Bermann 


Huntress 


August  Gaul 


Otters 


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Fritz  Klimsch 


Geheimrat  Prof.  Dr.  Karl  Binding 


Hugo  Lederer 


Bust  of  Hans  Pfitzner 


Artur  Lewin-Funcke 


Moth 


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Hubert  Netzer 


Diana 


By   permission   of  Franz   Hanfsliingl,    Munich. 


Franz  von  Stuck 


Athlete 


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Ignatius  Taschner 


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